Feeling lost? Don’t be afraid of failure, says Chinese couture designer Guo Pei

Five years ago, Chinese couture designer Guo Pei held her exhibition in Singapore at the Asian Civilisations Museum. Titled ‘Guo Pei: Chinese Art & Couture’, the three-month long exhibition in 2019 was a chance for many to get up close and personal with the famous “omelette dress” worn by Rihanna to the Met Gala in 2015.

After making several worldwide appearances, the famed yellow gown, as well as more than 40 haute couture pieces from Guo Pei’s archives from the past 30 years, is currently residing at M+ Hong Kong, a contemporary art museum located within the West Kowloon district, from now till April 2025.

As one of China’s most celebrated couture designers, the 57-year-old seamlessly weaves traditional Chinese artistry with global influences. Largely recognised to the the first Chinese haute couture designer, her work is lensed through the eyes of Ikko Yokoyama, Lead Curator, Design and Architecture at M+ for the ‘Guo Pei: Fashioning Imagination’ exhibition through the juxtaposition of mixed media art and haute couture.

Her World sat down with Guo Pei for an exclusive interview just before the opening of the exhibition to talk about history, the rise of China’s soft power and some timely advice for young people looking to make their mark in the world.

Do you think there has been an increase in interest in Chinese couture designers recently?

“I think it’s because of development and influence. China’s influence is growing, not just as a country or as individuals, but culturally as well. And in terms of culture, Chinese artists are always at the forefront. Artists are often at the forefront of expressing contemporary views on what’s happening globally. So their creations, their art, naturally attract attention. 

For me, I feel lucky to be part of this evolving environment that empowers not only me but other Chinese designers and artists. The interest we’re receiving is rooted in the rich culture we represent, our heritage, and the unique perspective we bring to the world today.”

Having been to Shanghai recently, I truly felt the vibrancy of youth and design culture. Are there any young designers or contemporary designers you may have taken note of?

“Yes, in China, with such a large population, there are many young talents emerging, especially in recent years. The economy now has more competitive advantages. But in terms of fashion as an industry, it’s still relatively young here, really developing only in the last 30 years, with the rapid development of young designers in just the past 10 to 15 years. 

These young designers have tremendous potential but need time—years, if not decades—to truly establish themselves and hone their unique style. They need to stay in the industry for maybe 30 to 40 years to realise their own preferences and charisma. Especially because many of these younger talents have been educated overseas, so naturally they are more international in terms of their perception, the way they create, their expression. They need more time. While dynamic and vibrant, they also need to commit to honing their craft over the next few decades to realise their full potential and express their unique voices in the industry.”

Your exhibition in Singapore in 2019 was centred around Chinese culture and weddings. How different is it to the current one in Hong Kong?

“The exhibition in Singapore focused more on connecting with and dialoguing the local wedding culture and Chinese heritage. It featured earlier designs of mine, while the Hong Kong exhibition is more of an overview of around 20 years of my work. It’s relatively more comprehensive. 

Also, because the venue in Hong Kong is a contemporary art museum, there’s a different focus—it’s about interacting with other forms of contemporary arts and creations. The Singapore exhibition was also more about exploring the connection between Chinese culture within China and how it evolved overseas, while here in Hong Kong, it’s more about showcasing diverse artistic perspectives on the modern world.”

Are there some pieces would you say would be a signature of your career journey?

“It’s really hard to pick one or two that are my favourite. One significant piece from a designer mile perspective would be the Magnificent Gold garment from 2006, which marked a turning point in my career to couture. This piece was actually the opening for my ACM Singapore exhibition in 2019. It represents my passion to bring my vision to life in couture, pushing both myself and my team in craftsmanship and how to materialise what I have in mind and on sketch. 

But, in terms of collection, it is definitely the Legend collection. Designing, the power of making it happen, the power of bringing it from mind to on paper and then to garments. The garments also carry courage and belief. It expresses my vision of connecting mankind to the universe, or maybe earth to heaven, Yin and Yang and the masculine and feminine. It’s about nature but in a human-focused way. It was one of  my most impactful and mind blowing collections. Many of my friends, clients and media friends loved it so much too.”

If you were not a couture designer, what alternative career path might you choose?

“I’d probably still be in design as a designer, maybe in space design, architecture or interior design. I think that I’m very lucky that I realised my passion since I was young. I’m also lucky that I could carry on and fulfil my childhood passion to make it my career and continue doing it passionately on a daily basis. 

There’s an Asian or Chinese phrase by Jin Ning Hua I resonate with—the idea that our environment influences our inner world, and vice versa—your inner  mentality and emotions also will affect how you interact with the tangible world outside. I’ve been doing many forms of design. 

I designed my own Atelier, my office area in Beijing, and my space in Shanghai. I also designed my own home — each and every corner, even the garden. I also believe we may start at different places but at the end of the day, we will end up at the same place and pursue what we were always meant to.”

Do you have advice for younger people who are a bit lost or trying to find their way and their next step ahead?

“Most of the time, the younger generations feel lost and are nervous about the risk of failure when fulfilling their own dreams. But maybe they should ask themselves, why—the reason behind why they feel lost? Maybe they want too many different things. 

From an education perspective, I grew up in a generation that was educated to always think about what I, as an individual, can give to society, to my family and to my friends. Nowadays, I think education is more focused on what individuals can gain from society, from family, from parents, and from friends. So there are so many attractions and they want too many things. 

My generation was brought up and educated to give, and whereas today’s generation is focused on taking. So younger people are always frustrated in terms of: I can’t get this from the company. What more can I get if I change my job? Maybe they should sit down and think of it as a balance. There is another philosophy that says the macro environment influences individuals, what they think, what they perceive, what they plan to do and their vision. At the same time, their own visions and goals decide their path. 

I also think the purpose of an individual’s existence in the world is not really to take away something, but is about what you’ve done, where you’ve been, and to leave your footprint. Not to take tangible things away for your own belongings. I think this [mindset] applies not just to young people but to everyone as well.”

The ‘Guo Pei: Fashioning Imagination’ exhibition runs til 6 Apr 2025. M+ Hong Kong is located at 38 Museum Dr, West Kowloon, Hong Kong. Visit mplus.org to find out more.