what is your vision for creating a timeless, globally appealing brand ?

As a creator, it’s natural to aim for our clothes to stand the test of time, becoming cherished memories for people, pieces in their wardrobe that their daughters and sons will pick.

Globally appealing also comes from nature, just as everyone, no matter where they are from, knows that Renaissance artists like Michelangelo, Da Vinci, and Raphael are iconic. My vision and goal are that, after years, when people talk about fashion designers of my generation, they think of my collection. It will come from China, then become an adjective.

how do you craft a universal design language that resonates internationally?

I do believe design is a real language that does not rely so much on verbal explanation. Growing up in China, I was naturally immersed in the Oriental ways of seeing and thinking. I think the essence of Oriental culture is finding a form, a logic within a formless form. This formless form could be a painting, or it could also be how we sit, how we walk, or the gestures of pouring tea… Then, as a creator, to find this form, using it as a tool is my main practice and output.

Since September 2022, I started this collection “POINT, LINE, FORM”, using three collections to find a language through simple practice to form the language of RUOHAN.

After one and a half years,  reflecting and analysing the way I design, and extracting what the real different method is from others. I figured, when I design, I always flatten everything inspiration / element in 2D, could become a writing on my notebook, some pencil sketches; Then I try to figure out the “proportion” and the “methods” applied that made me create these 2D preliminary designs. From then on, I transfer all these 2D elements into a painting-like proportion, and within the painting, I try to figure out where the neckline, where the hem, or see the “proportion painting” as a positive and negative space. I always believe in the affordance of material draping, by giving some orders of cuttings to the material, it always drapes the most surprising outcome you can every expect.

Given too many words, more than it needed, but then the answer of this question, about the resonance, I believe is about seeing this process of creation more and more clearly, and defining

Who I am with these methods in practice, then whatever cultural heritage merges into this process and resonates globally.

showing at paris fashion week was a significant step in the brand’s internationalization. what challenges did you face transitioning from shanghai fashion week to paris, and how did you adapt to meet global market expectations?

There are many critical challenges. Small ones like doing double sales samples for European sizing, and big ones like all the legal terms with the venue and payments, etc. The most important challenge is TIME, where we need to be 3-4 weeks ahead of finishing the collection before Shanghai market.

We conducted an internal review after two seasons of shows in Paris, which led to the conclusion that we need to include international team members. These members should be able to work across different time zones, speak perfect English, and be willing to travel anywhere. Therefore, restructuring a proper team capable of managing both regions was the biggest challenge, from Shanghai to Paris.

Adapting to global expectations takes time and repetition. Maybe this is the reason why this industry values experience so much. There is a Chinese idiom that says “Practice makes Perfect.” I think there is no easy way to achieve this, but it requires a lot of time to see good examples and practice regularly.

ruohan has expanded to over 70 retailers worldwide, including 16 in europe, japan, and the us. what strategies have you employed to build this global retail network, and how do you maintain brand consistency across diverse markets?

Paris was our only strategy at the time, focusing on showing in Paris, delivering sales to the showroom four times a year. People started to remember us, then they became interested, and eventually carried us into their region.

Critically, we internalized all of our wholesale business, which also represents the entirety of our operations. We believe we need a direct relationship with our clients, because working in a wholesale model puts us a layer away from our final customers. We need to provide proper one-time sales and brand training. Understanding their final customers is incredibly important, not just for maintaining the relationship but also to gain insight into what’s happening in different regions. This inspires me in my design work more than in sales.

Maintaining consistency for our brand across all markets is truly challenging. We are a well-known designer brand in China (among industry insiders), but at the same time, we are a young, contemporary brand in Paris. We also have a compatible character in the Japanese market.

Sometimes, the situation confuses me. But then, the confidence in saying we are actually consistent comes from our product. We maintain a very high standard of output, conduct sales training in different languages, and the team and I are physically present all the time. Maybe that’s what consistency is: , it is the confidence in our product’s consistency, the quality level of our product, the constant presence of our staff, and delivery training in multiple languages that are part of being consistent.

china’s luxury market has seen a notable decline in sales recently. from your perspective, what are the primary factors driving this slowdown?

My very narrow perspective is that middle-class people are growing, where their happiness used to come from purchasing luxury to give them identity. Now, they are starting to notice that happiness can come from various different ways, and they are shifting their focus from spending on material things to experiences.

For example, there is a wave of “Glamping staycations” in the Shanghai region, so many B&Bs are newly established, and people are crazy about booking weekend stays at very high prices just for a unique experience.

how are you adapting your business model to cope with reduced domestic demand? are you focusing more on international markets or exploring new price points?

I think we are still in quite a niche market; people are still seeking aesthetically pleasing wardrobes, and they care more about inner peace and emotional value than ever before. I believe the brand can meet this demand through our content, pop-ups, etc. Just like everyone wants to go to a nice coffee shop on a Saturday morning to read, having the right clothing can evoke the same feeling. So, I don’t think we should fear demand; instead, we should focus on understanding what the real demand is.

For now, I don’t plan to change my price point, and I hope I never do. What we offer is fabric, material, and the cut. Customers who buy from us now understand the difference in fabric and recognize the value of what they pay.

Expanding into international markets is definitely a yes. We are now in 30 stockists outside China, with 17 of them in Japan. Our priority is to establish our position and strengthen it in Japan and Paris first. I believe that without truly understanding the culture and habits—also meaning not living or having lived in a particular region—it’s hard to do good business there.

china has responded with retaliatory tariffs on u.s. goods. do you see this escalating trade war creating opportunities for chinese designers to focus on domestic or non-u.s. markets?

Hmmm, if I say it’s not an opportunity for the Chinese domestic market, that’s a lie. But as a brand, I always want us to be recognized internally, and this doesn’t just come from PR, but more importantly, from the market—when people from different regions wear us.

the recent u.s. tariffs on chinese goods have significantly increased costs for fashion exports. how are these tariffs affecting your production or sales strategy, if at all?

Well, YES! I spent three weeks in Italy in April to scout factories. Since most of our fabrics are from Italy and Japan, we are considering localizing production to the fabric’s region of origin.

First, all materials have their own culture. When I source, I try to source based on the know-how of different regions. For instance, silk and cashmere yarns are always from China; linen, cotton, and cupro are from Japan; viscose and fancy yarn weaves are from Italy. I maintain a close and strong relationship with all my mills and suppliers. I always believe we don’t need much; we need people who value and understand my design and create with us. We customized our signature waxed cupro, different yarn binding, etc.

 you’ve spoken about wanting to represent chinese talent globally, likening your ambitions to jacquemus. how do you address stereotypes about chinese fashion, such as associations with mass production, to position ruohan as a luxury brand?

Stereotypes formed first comes from domestic, it was the strategy of China in 1980s to become the biggest production country, then after 50 years here we are. The best way to address and solve this stereotype is through time, China has been willing to have a luxury brand that can be internationally known, then I need to believe I could be it, and part of it, so that I can make it happen after time. Within time, I think to be always relevant domestically and internationally is the key.

how do you connect with this audience, particularly younger global consumers, through marketing, social media, or storytelling, to build brand loyalty?

Storytelling and brand loyalty practices.

Travel is one of the key inspirations and elements in our storytelling; it not only provides a vibe but also creates scenarios for wearing.

For instance, we just started this project on islands, where we try to get inspired and depict an island in our language every season. We began with Ischia; the campaign for the SS25 collection was shot there in April. I stayed for 7 days to talk to local people, understand the history and culture, and then depict it in our language through visuals and writings.

CRM is the real key for any business, I believe. Meeting them, knowing them, letting them meet us, knowing us, and being willing to grow with us is the most meaningful practice a brand can have. First, we need to have a proper space and provide the right atmosphere, so that the first step is having our offline space as a place to meet our community.

you’ve hinted at evolving the brand into a comprehensive lifestyle brand beyond seasonal. collections. what are your long-term goals for the brand?

I wish the brand could create a lasting impression in people’s minds over time, where they also grow alongside the brand. To craft pieces and spaces that endure for a long time, and to undertake philanthropic projects that make the world more sustainable in various ways.

To consistently produce collections and showcase internationally, to travel more, to understand various markets, and to enable our team to travel worldwide, building an international team.