Having immigrated from China at the tender age of four, and moving across the continents, Yiqing Yin’s clothes have often been a point of reference for her. “Returning to my clothes, was like living once more within my body and my emotions; I was at home.”


It is little wonder then, that Yiqing Yin’s Couture presentation felt like a return to the Garden of Eden. It was pure, delicate, and innocently beautiful, like the awakenings of creation; a return to the beginning. Examining the dynamic potential of pleats and drapes, in her mind are structures that are never fixed, shapes that are organic, and always in mutation.


Yiqing Yin has an eye for the potential of emptiness, and through her deftness in the manipulation of fabric, she sculpts around it, creating a balance of flow and control. The resulting pieces are ones that retain these structures, yet are surprisingly light enough to gently catch the surrounding air around them as they move.


Like an artist who uses light and colour to create contrasts, using textures to add realism to the figures and contrasts between different fabrics, so Yiqing Yin created pieces in gradients of grey, textures with tiny soft feathers and lazer-cut an intricate pattern on a blazing red piece of fabric. The models looked pre-Raphaelite, with braided hair and individual strands blowing in the wind. Like Boticelli’s women, they were draped in fabric, never quite fully covered. But it was perfectly natural; it was the Garden of Eden.

Images: Fide Fashion Week