Syndicated from Design China
Ejing (Yijing) Zhang is an emerging Chinese designer currently based in London. Educated at London College of Fashion, Chelsea College of Art and Design, and Royal College of Art, the young talent also boasts experience with Ralph Lauren, Alexander McQueen and Liberty, London. We spoke with Ejing to discuss her journey to date.
Where are you originally from, and where did you study?
I grew up in Wuxi, which is close to Shanghai. Although my high school years were quite academic, I was always quite keen on drawing and wanted to pursue something creative. My Mum also wanted me to study abroad, so I ended up preparing a portfolio of work and applied to London College of Fashion for a foundation course. From there, I moved to Chelsea College of Art and Design for my undergraduate degree because their approach to textiles was better suited to my taste. I also fell in love with their studios and campus, which is close to Tate Britain. It was here that I specialised in mixed media textiles. The course also taught embroidery and, later on, I experimented with other materials, too. I went on to complete a few internships, including 4 months at Alexander McQueen, before applying for a Masters at RCA. I am an RCA graduate now.
How do you define yourself?
I think of myself as a materials or textile designer. Whilst I was at RCA I started to develop my own material, the constituents of which were resin, thread and wood. I then carried this newly developed material into accessory and jewellery design. So, I would say I am a materials designer first/before anything else.
When did you first start experimenting with materials?
Interestingly, I was surrounded by fabrics from a very young age, since my mother worked in the textile industry. Her job was to source fabrics for European high street retailers, so some of my earliest memories are of her analysing textiles.
When I was developing my own material at RCA, some of my initial research entailed designing an abacus. When I was little, the process of calculating using an abacus was widespread; these days, however, electronic devices, such as calculators and smartphones, are used instead. But this is quite a precious memory for me, so I used it to link my current practice with my childhood in China. I then asked myself what was important to me, and searched my studio. Threads, bobbins and paintbrushes are essential tools in my everyday and creative practice, so I found a way to transform these items into an abacus. This led me into experimenting with materials.
What inspires you?
I take my inspiration from architecture: I love structures, lines and facades. Actually, I collaborated with an architect, Weilong Xie, for my final project at RCA. We worked together on a range of 3D printed bags. I am also heavily influenced by ethnic cultures, especially those of China, although, I have previously looked at traditional costumes in Iran, too. Japanese culture and craftsmanship also speak to me, as well as photography. I take a lot of photos.
Actually, one of my first projects at RCA drew inspiration from a set of photographs that I took whilst on holiday in Tibet. The project brief was to produce 6 colour palettes in the space of one week, and to present the results not only to our tutors, but also to the Liberty fabric team. So, I used my photos from Tibet to devise various compositions of colour. The final presentation was actually an installation in which I painted plaster bricks with my various selected colours. I was then able to arrange the bricks to show each colour palette. I also represented devotees as sticks of colour: in traditional Tibetan practice, there is a ritual whereby followers walk three steps, then lay down, then walk another three steps before lying down again etc. I replicated these movements in my installation, using lighter colours to represent those that were beginning their journey, and darker colours for those that were further along their journey (where clothes may become grubby from the floor, or from longer periods of wear and tear). Story telling is very important to me. Also, when you represent colour on paper, it looks very different to when a colour is depicted on glass or wood. Material matters, too.
Liberty liked my idea a lot in the end. I was selected (along with 4 other students) to produce a colour palette for A/W 2013 (the current season).
What are you most proud of so far?
As a new graduate, I am really proud of my talk at Design Museum, which took place earlier this year. I thought I would have to wait at least 5 years to do something like this, but I was really lucky: one of the exhibitions that Design Museum hosted this year was called “The Future is Here”, which focused on modern manufacturing methods, including 3D printing. My work with Weilong obviously related to this theme quite heavily, so I was invited to talk about my journey as a designer, as well as my project and its relationship to 3D printing: how we conceived the initial idea and how we eventually realised it.
How did you obtain the idea for this project?
Well, I was researching local craftsmanship for my final project, and I travelled to China to collaborate with some bamboo weavers. We made some bamboo baskets, which I brought back to the UK to develop. I liked the fact that I was using traditional methods in my work, but I really wanted to push the boundaries. What did it really mean to weave in the 21st century? Weilong then showed me one of his designs that he recently 3D printed. I thought it was just amazing. The structure was almost plait-like, but it was so delicate, that it could only be created via 3D printing. I thought it would be interesting to combine our two textures and create 3D printed accessories, which resulted in the bag range. We eventually spray painted the bags to create a simple identity for the collection.
What advice would you give to Chinese students who are planning to study design in the UK?
For undergraduates, I would say that one of the most important things is to learn from your peers. For those studying an MA, I think it’s vital to know what you want from postgraduate education since you have millions of critiques and tutorials, and different tutors will give you different opinions. Also, sometimes a tutor may say or ask something to challenge you, so I have often treated my tutors as clients. Be sure of yourself and be confident.
It is also quite important to look back at your own culture. Of course, this is not an obligation, but it’s good to keep your identity. Just don’t force it. I hate those designers that claim to be “Chinese” designers via their application of motifs. This is too obvious and not deep enough. It is better to approach culture from a spiritual level. Ultimately, your background differentiates you from everyone else.
When I first came here, I didn’t have a formal art education, and I often felt as if I was falling behind. My Western peers were more accustomed to visiting exhibitions and galleries, for instance, but this was not common practice for me. Now, I don’t feel this pressure so much, and I am much more confident. Know what your strengths are and remember that culture keeps us unique.
Do you plan to return to China?
Right now, I am pretty busy with commissioned work; for instance, I was contacted by Mercedes and offered a 6-month internship at their colour and materials department. So, I see myself working in London for a while yet, either as a freelancer, or via setting up my own jewellery and accessories business. I think another 5 years here will be sufficient. After that, I’ll see. I do want to go back to China eventually, especially since I am an only child; therefore, it will be much more convenient for me to be closer to my parents. China also has a very big market, and manufacturing wise, it is cheaper, so it is quite efficient, too.
Where do you hope to be in the future?
I am not so ambitious, I think! Quite recently, two commissions – one from Nissan, and one from WGSN (designing trophies for their Global Fashion Awards) have kept me very busy. I would like to think that, if I continue to make and work hard, things will come to me. Otherwise, I would like to take part in Milan Furniture Fair and London Design Festival. My dream commission, though, would be to do something for V&A, which is one of my favourite museums in London.
