‘These are my creatures,’ said Feng Chen Wang with a smile, surrounded by a surreal cast parading in her Autumn 2025 show at Paris Fashion Week. At the time, her ‘creatures’ – otherworldly figures that looked like something out of a mystical fairytale – took over the catwalk, each wearing ceramic caps, carrying sculptures of fantastical animals and defying reality with an aesthetic reminiscent of UGG’s Tasmania, but elevated to a cosmic level. It was as if we were inside an alternate reality, a parallel universe inspired by the Shan Hai Jing, the ancient Chinese text recounting legends of awe-inspiring landscapes and mythological beings, written over 2,500 years ago.
Taking these ancient stories as a starting point, Wang collaborated with artisans in Jingdezhen, China’s ceramic capital, to bring his Feng-style creatures to life: beasts with wide eyes, sharp fangs and an eccentric air, which became the most unusual and fascinating accessories in the collection. In addition to these sculptures, Wang translated these mythical figures into eye-catching prints, which were woven onto fabrics and printed onto denim silhouettes, fusing ceramic art with textile design in a way never seen before.
The show climaxed with a monstrous collaboration: Wang’s iconic UGGs, transformed into grotesque creatures that wrap the shoe in a ceramic shell full of fangs and jagged edges. ‘These shoes are works of art,’ Wang said, laughing as he struggled to wear one of the gigantic footwear, which looked more like sculptures than accessories. In shades of brown, yellow and blue, the shoes – monstrous but fascinating – stole all eyes, especially from the front row.
While the shoes generated all the attention, Wang’s outerwear became the real ready-to-wear heroes. Using Bbonded neoprene, the designer breathed new life into traditional wool in leather coat collars and sleeveless waistcoats, while structured denim coats and shiny puffers maintained a satisfying rigidity. Knitwear, brought the same dreamlike energy with jumpers adorned with billowing bows and tonal patterns running the length of the torso, as if each garment was infused with the same unearthly vibes that dominated the runway.
Although the collection was tinged with a folkloric, fantastical air, Wang’s intention for these designs was not so ethereal: ‘I would love to see people wearing these items on the street, or really anywhere they feel comfortable,’ the designer confessed. In her hands, the surreal and the utilitarian merge seamlessly.
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