Fashion isn’t just about adornment for Aojie Rou – it’s an act of defiance, a mirror of inner turmoil, and sometimes, a cry for protection. What if a wedding dress could guard against explosions? What if clothes could channel the weight of war, displacement, and gendered expectations? In this conversation, Aojierou challenges us to rethink the boundaries of fabric, identity, and emotion – proving that sometimes, the boldest fashion statements are born from vulnerability.
hube: Your collections often challenge traditional gender norms through fashion. How do you balance pushing boundaries with maintaining a strong sense of cultural respect in your designs?
Aojie Rou: When I design, I usually first decide whether the collection is for men or women and proceed from there. At the same time, I blur the boundaries between the sexes because I don’t think people should be limited in their clothing choices by gender. The only thing I need to consider is the design requirements related to different body shapes and organs.
h: In your collection WHAT IF THE WAR NEVER ENDS, you talk about the lingering fear and impact of war on ordinary people. How did you translate these heavy themes into the aesthetics of your designs, and what role do you believe fashion plays in processing collective trauma?
AR: This collection is actually an extension of an idea I had five years ago. At that time, I was studying in Canada, and there were frequent school shootings in North America, which made me feel very scared. The school suggested students buy clothes resembling bulletproof vests for protection, which inspired me to research military supplies. I found it absurd for ordinary people to need such hard and heavy garments in daily life.
Now, with many countries around the world at war, I feel deep sadness. I incorporated this emotion into my designs, using heavy and uncomfortable clothing to evoke the pain and fear war brings to people.
h: You created the armour wedding dress inspired by a video of a wedding disrupted by a bomb explosion. How did this moment shape the symbolism of protection and vulnerability in your design, and what message were you aiming to convey through the juxtaposition of armour and a wedding gown?
AR: After watching that video, I was struck by the stark contrast: a bride experiencing an explosion at the happiest moment of her life. Her wedding dress was torn by the blast, leaving her unprotected. Then, a uniformed police officer appeared in the frame.
The wedding dress, representing softness and purity, clashed with the military uniform, symbolising destruction and protection. This inspired me to design a wedding dress that could protect – what I call a ‘military wedding dress’,
h: What do you think about clothing being a ‘second layer of human skin’? How do you approach the design of garments that express inner identity while navigating the societal expectations placed on individuals?
AR: For me, clothing is more than a second skin – it’s a second character. It can reveal a hidden side of someone or embody who they aspire to be. After completing a series, I reflect on it as if I’m looking into my own depths.
During one period, I realised I felt insecure and wanted to hide, so my designs were body-concealing and rigid. It was like my second skin – putting it on made me feel fearless.
h: Having lived in different cities across the world, how have these diverse environments influenced your creative evolution? Are there specific cultural elements that have directly impacted your aesthetic?
AR: I haven’t lived in any one city for more than five years. I moved from China to Canada at 18, where I absorbed a lot of American aesthetics and culture. Now I live in Antwerp, which has a very different cultural atmosphere.
The vastly different cultures of China, North America, and Europe constantly crash, merge, and reorganise in my mind. What emerges is my own style – complex and rich, difficult to trace back to a single origin, yet unmistakably distinct.
h: Your collection, THE WAVE OF UNEMPLOYMENT IN DONGBEI, took a markedly different tone from the rest of your work. How do you decide when its time to shift themes and explore new territories within your work?
AR: When I created THE WAVE OF UNEMPLOYMENT IN DONGBEI, I was 21 and just starting out. I didn’t know where to begin, so I chose a story from my hometown. I spent six months researching – reading novels and watching documentaries about that period. I immersed myself in the subject and poured my emotions into it.
This approach has shaped my creative process. I now focus on the lives of specific groups of people, understanding their emotions and expressing them through clothing.
h: With your sights set on developing wearable clothing and further expanding your brand, what can we expect from Aojierou in the near future? Are there any new materials or technologies you’re particularly excited to explore?
AR: In the future, I hope to establish my own brand, focusing on the clothing itself. I want to captivate audiences with novel designs and craftsmanship while ensuring comfort, which is very important to me.
I’m currently working on a collection, which continues the themes of WHAT IF THE WAR NEVER ENDS. I look forward to sharing it with you soon.
Photography courtesy of the artist