10 Questions with Qianqian Jia

Qianqian Jia was born in a small town in Jiangsu Province, China. The natural scenery played an important role in her future creations. She studied Visual Communication as an undergraduate from 2012 to 2016 and worked as a brand designer after graduation. At the same time, she was curious about fashion design and learned sewing and pattern-making on weekends. In 2022, she studied for a Master's in Fashion Design at the Royal College of Art in London, UK.

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ARTIST STATEMENT

Qianqian Jia is a Fashion designer based in London. For her, fashion is a way of expressing herself. Fashion doesn't just exist in the closet but in lifestyle and beliefs. Her design is not critical. It is more about expressing her attitude about life.

She found that society promoted people more to build a utopia, a third world that you don't touch and feel. But then she realised she could not emotionally respond to something she hadn't experienced. By comparison, the birdsong and raindrops she hears and the soft lawn seem more real and vivid.

Because of her experience in graphic design, her designs are always very linear and balanced. The clothes establish a sensory connection with the wearer through balance.

Intimations of Immortality, Phography, 2023 © Qianqian Jia

INTERVIEW

Let's talk about yourself first. You started out studying visual communication before becoming interested in fashion. What prompted this transition? How do these disciplines inform each other in your work?

For me, design is interconnected. I still like brand design, especially the process of helping a startup grow from the ground up and eventually break into the market. It's truly a joy that's hard to put into words. What made me think about entering the fashion industry was my personal beliefs and my longing for work in Fashion.
Graphic design is attractive enough: every day brings a new challenge. But after working in this field for four years, I gradually felt trapped in a world behind a screen. Once you finish one project, another one follows; it's an endless cycle of screens. It felt like I was constantly facing the Account Executive rather than clients. Gradually, I longed for design with a tangible, physical presence. At the same time, I had been taking weekend fashion foundation courses for two years. Therefore, my original hobby naturally became my primary profession when I started considering a career shift.
Honestly, typography and colour application have greatly helped me with the details and silhouettes of the garment. I can identify imbalances or missing elements in garments quickly. The most significant influence is the concept of"white space", often used in graphic design. White space is often called minimalism in fashion. I don't think it is. It's an appropriate trade-off, and it's also a restraint of power that retains function and comfort.

You later moved from the Jiangsu Province to London, UK. How did this move help you achieve your goal of working as a fashion designer? Do you find the London environment particularly stimulating , or would you like to experiment with other cities?

After moving from Jiangsu, China, to London, UK, my first stop was the Kensington campus, where I received both technical and professional support from my teachers. It was here that I was introduced to shoes, bags, and accessories—which made fashion more fascinating. At that time, I wanted to explore everything; those moments remain fond memories. During a photoshoot in London, I also had the chance to cooperate with photographer Thomas Jack and Cree, who is an actor, director, and model. Their energy and passion truly inspired my enthusiasm for fashion.
London's environment excites me, it's a gradual experience. As I settled into my new life as a newcomer, I went to The Columbia Road Flower Market, galleries, concerts, and watched plays. These experiences gave me a sincere feeling for the city's culture. I would also like to try other countries, especially European ones like Italy. All high-end products are often labelled with "Made in Italy" or "Made in Paris." That is indeed an enormous attraction. However, this is also a challenge for me, as each country requires knowledge of its local languages.

Your background in graphic design gives your fashion work a linear and structured quality, as you mention in your statement. How do you merge these graphic elements with of fashion?

I've always believed that touch is a more honest form of communication than words. It isn't easy to express, but I'm inspired by an example from one of my favourite Japanese designers, Kenya Hara. In 1998, he designed a project for Umeda Hospital, where soft white cotton and the texture of fabric became symbols of care and attention for women and children. The tactile experience translated into a feeling of softness and trust, something I strive to achieve in my ownwork. I want the minimalist silhouettes I create to evoke a similar sense of trust.
In packaging design, I have always found the tactile experience of speciality papers captivating. Their unique textures, whether grainy, skin-like, or smooth, enhance the sensory appeal and create an unforgettable impression. I like to envision the silhouette of cloth as a box that contains a valuable product, and beneath this silhouette lies a precious and unique soul. In fashion, I like to use fabrics to present tactile sensations. The skin is the receptor of touch, and delicate yarns and natural materials bring comfort, joy, and even dopamine release. These help us form intimate, secure connections. Similarly, the linear and structured silhouette provides the body with a sense of security. In my work, linear divisions or graphic patterns are usually smooth and non-aggressive, combining fabric textures to evoke emotional responses.

Your work also emphasises balance and sensory connection. Can you describe how you achieve this in your designs?

Balance has two key aspects there. First, it relates to the technical aspects of the garment, the craftsmanship, the collar's size and colour, and how they complement the overall design. This includes decisions like French seams or topstitching and the fabric weights of 180g or 240g.
On the other hand, balance also refers to the relationship between life and clothing. For example, adding functional pockets becomes essential for daily needs when a coat with a large silhouette. If you want a shirt that combines shine and breathability, silk is an excellent option. For those who enjoy cooking, sleeves shouldn't be too long. My aim is for clothing to provide a sensory experience—like how a structured silhouette can boost your confidence when tackling a challenging project or how the smooth feel of silk can bring a sense of calm in chaotic moments. As a fashion designer, I believe clothing should serve people, not dominate them. It's an accessory to life, enhancing your experiences and deepening your connection to the joy of living.

What role does nature, such as birdsong and raindrops, play in your creative process? How do you translate these experiences into fashion?

I really like a quote by Andy Goldsworthy: "We often forget that we are nature. Nature is not something separate from us. So when we say that we have lost our connection to nature, we've lost our connection to ourselves."
Nature has the power to heal us, even when it's recreated through digital art. Most of my work tends to turn nature into usable fashion elements through the emotional filter of 'being experienced', which is very subjective. For instance, when I hear the sound of rain, I don't just focus on the white noise of the droplets; I also notice the patterns they leave on the glass. I pay attention to how the humidity in the air makes me feel. The rain feels refreshing and comforting when my mind is calm and stress-free. However, when I disagree with somebody and the rain carries warm air, it can feel heavy and suffocating. These emotions often manifest in my designs through details like a nipped waistline or irregular pleats.

Your artist statement mentions a societal push towards utopia and your preference for vivid, tangible experiences. How do these ideas shape your collections?

In today's digital age, we like to swipe and tap for tailored entertainment, which often leads individuals to immerse themselves in the virtual world of the Internet at the expense of the real world. In contrast to the digital world, I believe in embracing nature. Even a 20-minute walk in a nearby park can fully engage your five senses to experience the life around you. "Have you ever pondered the joyful meaning behind bird chirps?" "As bees diligently gather pollen, we witness nature's amazing teamwork." "The aroma of freshly mowed grass brings back delightful summer memories." These are precious and unique experiences for everyone. The prints in my collection come from the projection of bouquets, and going back in time to the moment of selecting the flowers was truly an enjoyable experience. I enjoy describing the small experiences I had and the flowers I smelled. I like recording these moments on the sketch, a mannequin, or software. It's like you and your best friend talking to each other, normal and beautiful.

As a designer who strongly focuses on nature, what is your stance on sustainability in the fashion industry? Do you apply any sustainable practices in your work?

Sustainability is an essential topic in fashion, particularly with trends such as recycled wool, organic cotton, and denim fabrics that help decrease chemical pollution in water sources. These elements have become central to sustainable fashion. For me, the most important aspect is understanding the client's needs and ensuring that the clothing lasts longer. Classic designs and exceptional quality are essential. Sustainability encompasses the entire industry chain, which includes working with certified sustainable factories, producing high-quality garments, managing inventory, and promoting recycling.
In my current work, I've used 100% wool prints and biodegradable recycled polyester fabric. While recycled polyester offers certain benefits, it also presents challenges I intend to navigate with greater care. I used sheepskin for this collection. Then, I discovered an innovative plant-based leather made from apple fibres in an Italian studio, which I find very promising. Additionally, I'm actively seeking materials that can replace metals.

Who is your ideal customer? Is there a person or category you would like to dress with creations?

A specific age does not define my ideal customer. While my work often targets individuals between 25 and 45 years old, what truly matters is the personality type of the person I want to reach—someone who is courageous enough to forge their own path.
Consider this scenario: after years in the same job, you may want to switch careers, but others insist it's too late and impossible. Or perhaps you're an overweight girl, and people around you say, "You'll never be a dancer." Additionally, you might find yourself dealing with a client who makes unreasonable demands.
I want my customers to be the ones who stand up and say, "No." They could be a young girl with messy braids and canvas shoes, or they could be someone over sixty, still embracing and grateful for the everyday moments.

What are your next steps as a designer? Are there any upcoming projects or collaborations you're particularly passionate about?

As a designer, my next objective is to immerse myself in the fashion industry to enhance my garment-making skills. I also plan to be more involved with fabric supplies and factories in the UK and Europe, attending fabric exhibitions and staying up-to-date on new materials. I've always believed that both creativity and mass production are same important.
I am passionate about projects that are still deeply connected to nature. With my background in design, I greatly appreciate cross-disciplinary partnerships, as blending different design perspectives is truly inspiring. I am especially interested in collaborating with print artists, innovative materials, AI creators, paper manufacturers and musicians.

And lastly, where do you see yourself and your work five years from now?

I'm incredibly grateful for everything I've experienced—from graphic design to fashion and from China to the UK. While I have had my "Darkest hours", I still believe these moments will become treasures in my life. In five years, I hope to have breakthroughs in my profession, and I also want to start my own small business. When you understand your life's mission, you can confidently move forward when the right opportunities arise. I'm excited to see who and where I will be in five years.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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