Shanghai Fashion Week SS26: Nostalgia, tradition and play on archetypes

A sense of nostalgia hung over the Shanghai fashion shows for the past two weeks. Designers often sought inspiration in the past, from the glamorous 1920s to deep-rooted Chinese aesthetics. They did not shy away from embellishments, exploring archetypes and connections to ballet and running.

Nostalgia in muted colours

Floral motifs and muted tones were a common thread throughout the collections, many of which made generous use of velvet, silk and lace. An ornamental lace dress by Jacques Wei, a designer known for his elegant creations, was interwoven with silver thread. Sequins and feather boas made his fine evening ensembles appear all the more decadent, reminiscent of glamorous 1920s Shanghai.

Ankle-length, flowing skirts and dresses were a staple on most catwalks. The label Rureminds paired a high-slit skirt with a mesh top featuring oversized jewellery details. Pearl necklaces and elbow-length gloves completed the nod to the Flapper Girls of the 1920s. The designs from the brand Lacerta and designer Xuzhi gained a nostalgic, romantic touch through references to Art Nouveau and boho-chic. The brand Lacerta drew inspiration from the Catalan lifestyle of Barcelona, while Xuzhi was inspired by the French poet Arthur Rimbaud and Paris's Latin Quarter.

Paris was also the starting point for the spring/summer 2026 collection from the label Shushu/Tong. In 1962, director Agnès Varda made the 90-minute film Cléo from 5 to 7, in which the heroine Cleo, facing a serious medical diagnosis, remarks, “As long as I'm beautiful, I'm alive.”

The label's designs, which have become known beyond China for their Lolita look, were based on this statement. Now, the elements of the feminine-subversive looks have become rougher. A mottled tweed ensemble is almost brutally split down the middle and frayed at the edges; a pink floral jumpsuit is close-fitting, leaving the legs bare. The images and fabrics associated with beauty thus appear fragile and vulnerable, but this is precisely what makes them feel alive.

New Chinese aesthetic

A return to China's cultural heritage is currently one of the biggest trends in the population's style of dress, and this was also reflected in many looks at Shanghai Fashion Week. This season, labels increasingly managed to incorporate traditional elements without being too blatant or obvious.

Designers increasingly succeeded in subtly translating Chinese aesthetics into contemporary looks, sometimes merging influences to create something new. The label Pantterfly combined a turquoise-blue fringed blazer with a transparent, flowing skirt. A cool white top, trimmed with bolder fringing, contrasted with the fluid rhythm of the look, which seemed to conjure a mythical water deity from the digital world.

At the label Evvly, elements of traditional costumes such as red fabric bundles, mandarin collars and frog fastenings were also mixed with digitally inspired exaggeration, screen-saturated colours and cosplay aesthetics. At the brand We Prive, the ideals of beauty shone through more subtly. This was evident in the loose drape of a floral garland scarf or the way the flow of a transparent sequin-lace top transitioned into the draping of the skirt.

The label Yayi created designs with silk dyed with khaki and gambier using a traditional mud-dyeing technique. The sleeves of a black blazer were extended with fringes, reminiscent of the long sleeves of robes from the Chinese Song dynasty. Like the life path of designer Yayi Chen Zhou, her fashion also moves between China and Spain. The transitions between cultures are fluid, making the designs appear timeless.

The label Ao Yes skilfully played with references from Chinese culture like few others, translating them into relevant designs for the present day. Butterflies were explored as a cultural symbol throughout the collection.

As origami on a white blouse, combined with the floral print of a shiny skirt, they recalled traditional butterfly-flower motifs. An origami butterfly also adorned a headscarf, which was reminiscent of both Y2K styling and a traditional type of head covering. A yellow silk suit with flip-flops blended the historic imperial colour with the casual street style of market women.

On the trail of female archetypes

In addition to playing with cultural references, other collections were dedicated to exploring female archetypes. The label Fordare presented a saccharine image of light pink, lace and floral motifs, which was given a subversive edge with daring cuts and visible suspender belts.

The models on designer Mark Gong's sandy catwalk became outlaws on the run. They wore a lot of leather, such as multiple black leather belts with silver buckles at once, and oversized cowboy boots. In his typically ironic manner, the fashion designer broke through the rugged Western nostalgia with elements like a vertical police light as a bustier.

Designer Zita Tan explored the image of femininity with her archaic marine aesthetic. Futuristic cut-outs came together to form dresses reminiscent of armour. Could this be what women from future tribes look like? Her colleague Camey Liu also delved into a futuristic, mythical world with her haute couture creations. Models appeared wrapped in layers of tulle and lace as fairytale fairies, or with delicate 3D horns as a reincarnation of the demoness Lilith.

Fashion ballet

Sport and dance brought remarkable impetus to the SS26 collections. The label AS Dalio incorporated elements of ballet training outfits into its designs. Boleros were combined with body-hugging tops and short shorts; ballet leotards were worn with a striking harness under a coat.

Running inspired the label 8ON8's designs. The collection was set in an urban environment and also included outdoor elements for an urban middle class in search of experiences in the great outdoors. Slightly oversized skirts and tracksuits made from functional fabrics met hand-woven leather shoes, creating a combination of casualness and dynamism.

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