The New Chinese aesthetic has increasingly become part of everyday dressing, as tradition continues to be redefined. Aimee Yan introduces several New Chinese–style brands that are particularly worth watching this year

M Essential

M Essential brings the new Chinese aesthetic back into daily life. Designer Ma Kai centres the brand on the idea of dressing for oneself, allowing embroidery, cloud collars and traditional motifs to blend naturally into the modern wardrobe through contemporary proportions and tailoring. The brand places great emphasis on fabrics and craftsmanship, collaborating closely with intangible cultural heritage traditions – yet culture never feels imposed or heavy. Rather, it flows naturally as an integral part of the garment’s refinement

Shanghai Tang

Founded in 1994, Shanghai Tang has built a playful yet contemporary vision of Chinoiserie through cheongsams, knotted fastenings, opulent silks and Mongolian cashmere. The brand embraces colour and ornamentation without hesitation, reworking traditional elements through modern cuts. It remains a key reference in the evolution of new Chinese style.

Sau Lee

Sau Lee takes a distinctly feminine approach. Traditional elements such as the cheongsam, pipa buttons and brocade are deconstructed and reassembled into body-skimming, cut-out or strongly structured silhouettes. The result is an extension of confidence and sensuality, rich in modern femininity.

Uma Wang

Uma Wang works with natural fabrics treated through distressing, crumpling and scorching techniques, creating garments with almost sculptural textures. Oversized silhouettes, one-piece constructions and gender-fluid design allow her work to sit between Eastern meditative sensibilities and Western avant-garde expression. Rather than directly referencing Chinese design elements, she carries forward an Eastern understanding of time and patina through mood and materiality.

Vivienne Tam

Vivienne Tam reinterprets Chinese cultural symbols, from Guanyin and peonies to architectural imagery and through digital prints and modern tailoring, forming a striking East-meets-West visual language. Her work extends beyond fashion into museum exhibitions and technological collaborations, opening up new cross-disciplinary possibilities for Chinese-inspired design.

Yang Ke Han

Among the new generation, Yang Ke Han approaches new Chinese style through textiles, reawakening the value of traditional fabrics. Gambiered silk, Song brocade, silk and cashmere are not merely material choices but cultural statements. Thoughtful details, from folding-fan-shaped hangtags to carefully designed labels that avoid skin irritation – reflect a deep consideration for the wearer. New Chinese style here moves beyond aesthetics, returning to the lived experience of dressing.

Zhu Chong Yun

Zhu Chong Yun is guided by the concept of harmonised aesthetics, emphasising balance, restraint and natural materials. The designs are highly disciplined, avoiding visual spectacle in favour of texture, proportion and the way garments move with the body. Through this quiet approach, the brand articulates an Eastern philosophy and introduces a refined way of living.

Also see: Fashion shoot: Setting the tone