Xuange Qin
Collection
Ashes: From Regret to Rebirth
“长沙如失陷，务将全城焚毁。”
Thesis Statement
This collection centers on the imagery of ashes to explore the theme of rebirth after destruction. It draws inspiration from the 1938 Wenxi Fire in my hometown, Changsha—a catastrophic event that destroyed 90% of the city and marked an unerasable rupture in its history. The collection seeks to express how life and meaning can be reconstructed from the remnants of tragedy.
Ashes symbolize an end, yet they carry the weight of irreversible loss and regret—only by confronting these can rebuilding begin. Ashes urge us to accept the reality and search for a future. Thus, ashes also hold the potential for rebirth, forming the emotional and conceptual foundation of this project on destruction and renewal.
Ashes symbolize an end, yet they carry the weight of irreversible loss and regret—only by confronting these can rebuilding begin. Ashes urge us to accept the reality and search for a future. Thus, ashes also hold the potential for rebirth, forming the emotional and conceptual foundation of this project on destruction and renewal.
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Through fabric manipulation, structural contrasts, and the use of materials such as wool, jacquard, and transparent textiles, the collection embodies the fragile yet persistent nature of ashes.
This collection will ultimately present around five phases—Origin, Ignition, Destruction, Reconstruction, and Rebirth—each representing a moment in the journey from collapse to renewal. Together, they reflect how garments can express the delicate tension between fragility and strength, regret and hope, devastation and growth.
Historical Background
Wenxi Fire occurred in my hometown, a devastating disaster that destroyed 90% of the city in a short time, leaving it in ruins. However, today, my hometown has been restored to its former beauty, as if the fire had never happened. This disaster took place during World War II in the turbulent Republic of China era, a period marked by intense political, social, intellectual, and cultural clashes and reshaping.
The rebirth of my hometown is not just a restoration of the physical world but also symbolizes adaptation and growth amid turmoil. This reflection on the remnants of the past—ashes—has become the core theme of my design.
The qipao, one of the most iconic garments in Chinese fashion history, is often seen as a modern evolution of traditional Han clothing such as the shenyi. While its origins are debated, its cultural significance is undeniable. In the 1920s, influenced by Western fashion, the qipao began to evolve, featuring slimmer silhouettes, bust and waist darts, shoulder seams, and set-in sleeves for a more tailored fit. By the late 1930s, the Shanghai-style (Haipai) qipao became the standard, blending Chinese elegance with modern sensibilities. Today, the qipao stands as a symbol of the Republic of China era, capturing the glamour of 1930s Shanghai, from the vibrant Great World amusement center to the iconic streets of The Bund. It remains a timeless expression of grace, modernity, and cultural identity.
The stand-up collar of the Republic of China era was more than a fashion detail—it was a symbol of cultural transformation. Influenced by Western military uniforms in the 1910s, women’s collars became higher and more structured, often reaching the cheeks and reinforced with stiff interlinings, piping, or pleats. This stark departure from traditional soft collars reflected the collapse of old systems and the tension of a new era. In qipao design, the collar evolved from rigid and formal to soft and fitted, mirroring the shift in women’s identity—from restrained to confident. Like ashes after fire, this transformation represented both loss and renewal, leaving quiet traces of history along the neckline while signaling the rise of a modern aesthetic.
Color Board
1938–∞
Final Line-up
Look 1 - Look 5
Final Garments
Studio Shot
