Jewelry designer Chi Yang Duan’s journey into design began with his uncle’s influence, introducing him to the nuances of art and design. His passion for accessories was fueled by personal travels, finding comfort in familiar objects. At the Royal College of Art, he embraced sustainability, focusing on upgrading existing designs to extend their lifespan. Recognition at the Hyères International Festival and collaboration with Hermès allowed him to integrate his sustainable philosophy into his designs. Chi Yang Duan’s work, inspired by his experiences of cultural displacement, deconstructs and reconstructs familiar objects, balancing functionality with artistic innovation, and aiming to redefine the future of sustainable design.
Can you share how your journey as a jewelry designer began and what inspired you to pursue this path?
My journey into design began thanks to my uncle, who was a ceramic art major turned interior designer. He was the first to show me the distinction and differences between art and design, and that really shaped my thinking. Design, to me, became about rationality, while art was about sensibility. As for accessories, the inspiration came from a very personal place. During my extensive travels, my backpack became a constant companion—almost like a pillow that brought me comfort no matter where I was. That idea of an object that travels with you and provides comfort is what drew me into the world of accessories.
How did your time at the Royal College of Art shape your design philosophy and approach to sustainability?
My time at the Royal College of Art was both a challenge and a turning point. The UK education system didn’t always provide the basic skills I expected, and like many of my peers, I had to teach myself a lot, often relying on online resources like YouTube. By independently acquiring skills and utilizing various tools, I inadvertently developed innovative applications beyond the scope of systematic learning. It was here that my approach to sustainability began to take shape. I started focusing on upgrading and evolving existing designs rather than creating something entirely new. I believe this approach is more sustainable, as it extends the lifespan of designs and encourages a circular approach to fashion.
What was it like being a finalist at the 39th Hyères International Festival, and how has that experience impacted your career?
Being a finalist at the 39th Hyères International Festival was a pivotal moment for me. My graduation collection was deeply introspective, but it lacked the practical problem-solving that I later learned was essential. The experience at Hyères taught me to balance self-expression with practicality. By removing emotional biases, I was able to create a more timeless aesthetic, which helped me get into the competition. The recognition I received as a finalist opened doors for collaborations and really solidified my belief in the importance of merging artistic vision with practical design.
In your collaboration with Hermès, how do you integrate your philosophy of upgrading existing designs to extend their lifespan?
Working with Hermès has been an incredible experience, and it aligns perfectly with my design philosophy. I’m very focused on the idea of upgrading existing designs to extend their lifespan, and with Hermès, I’ve had the opportunity to do just that. I must acknowledge their generous support for emerging designers, as they granted me access to the private collection of the Hermès family at their Paris headquarters, which is usually not open to the public. We also visited the company headquarters, leather workshop, and the whole accessories department. In line with my design philosophy, I extensively researched their historical product range. Drawing inspiration from a silk scarf painting dating back 50 years, I integrated its aesthetic with the structural elements of a harness to create a unique product previously unexplored by the company. The craftsmanship involved nearly 200 hours of meticulous work by our skilled artisans, and I am immensely satisfied with the outcome. This collaboration has been a way to showcase some of my best work, and it has reinforced my commitment to sustainability in design.
Your work often involves transforming well-known objects, especially eyewear, by twisting and deforming them. Can you explain your creative process behind these transformations?
My creative process starts with finding the right object to transform. It’s not just about deconstruction or destroying the original shape of it, I need to understand how people use the object and then think about how I can change its form without losing its function. For instance, with my eyewear collection, I was inspired by the London Underground. The color system and the unique shapes of the stations influenced the way I twisted and deformed the lenses. Even though the lenses are twisted above the nose, they don’t interfere with how people wear the glasses. It’s about adding playful details while maintaining practicality. I always try to keep the original material and simply reapply it in a new way.
How do you balance maintaining the original function of an object while giving it a completely new and evolutionary look?
Balancing function and form is at the core of what I do. When I transform an object, I’m always thinking about how to keep its original purpose intact. It’s a delicate balance—maximizing the visual impact while ensuring that the object remains functional. For example, when I twisted a safety box, it still worked as a container, but the method of opening it changed. The key is to respect the original design while pushing its boundaries, making it more interesting and engaging without compromising its usability.
The concept of de-identity, facelessness, and fringe in your MA clothing collection is deeply personal. How did your experiences living in multiple cities influence this collection?
The constant relocations since I was a child left me struggling to find a sense of belonging. This feeling was only intensified by the discrimination I faced. My MA collection was a way for me to express these emotions. The concept of de-identity, facelessness, and fringe comes from this sense of displacement and the desire to hide or protect oneself in an environment that feels like an alien. The collection is a record of my journey, but it also speaks to the shared experiences of many Eastern travelers who face similar challenges.
As an Asian designer in Western society, how have your cultural experiences and challenges shaped your work and artistic expression?
Being an Asian designer in Western society has undoubtedly shaped my work. The challenges I’ve faced, from racism to the struggle of finding a sense of belonging, have deeply influenced my artistic expression. My work often reflects a critique of these experiences, whether it’s through the use of materials, the themes of my collections, or the way I approach design. I draw on my cultural background and the experiences I’ve had to create pieces that not only tell my story but also resonate with others who might have faced similar challenges. My design is my way of navigating and making sense of the world around me.
Your accessory collection draws inspiration from Asian religions, particularly Buddhism. How do you approach the deconstruction and reconstruction of traditional elements like buckles?
Asian religions, especially Buddhism, have been a significant source of inspiration for me. In my accessory collection, I drew from the traditional circle lock used in Buddhist monks’ attire. I approached this element by deconstructing and reconstructing it to create innovative buckle designs. The process involved exploring how these traditional elements could be reimagined in a way that respects their origins while giving them a new purpose. The result is a collection that merges minimalism with maximalism—sometimes multiplying the buckles to create a novel object, and other times transforming the buckle’s form while retaining its original function.
What role do minimalism and maximalism play in your design process, especially in your accessory collection?
Minimalism and maximalism both play crucial roles in my design process. I enjoy exploring the tension between these two approaches. In some pieces, I might multiply elements, pushing the design towards maximalism to create something bold and new. In others, I might strip down the design to its essentials, embracing minimalism to highlight the object’s core function and be as simple as possible. This duality allows me to experiment with form and function, ensuring that each piece is both aesthetically intriguing and practically useful.
Sustainability is a key aspect of your work. How do you see the future of sustainable design, and what role do you hope to play in it?
I believe the future of design lies in reimagining existing products rather than constantly creating new ones. We need to focus on extending the lifespan of designs, making sure they are built to last and can be reinterpreted for future use. My role in this is to continue pushing the boundaries of how we think about sustainability—by upgrading, deconstructing, and reconstructing objects in ways that reduce waste and encourage a more circular approach to design. I want to contribute to a future where design is both beautiful and responsible.
What upcoming projects or collections are you most excited about, and how do you see your work evolving in the next few years?
I’m currently preparing an upgraded collection for the Hyères Festival, where my collection will be featured on the catwalk during the festival. This is a project I’m really excited about, as it allows me to showcase my latest work and push my designs even further. Additionally, I’m exploring the possibility of creating pieces that are not only innovative but also mass-producible. I’m fascinated by the intersection of tools, workwear, and fashion, and I see my work evolving to include ready-to-wear clothing that combines utility with avant-garde aesthetics. The next few years are going to be about refining my vision and continuing to challenge the norms of the fashion industry.