China is the fashion world’s workshop, its emerging mega market, and its inspiration for exotic catwalk trends; but it has yet to produce a truly world-class homegrown couturier. One young Shanghai designer, however, may be the real thing. As the first mainland Chinese to exhibit at London Fashion Week in 2006, and one of three ‘Best Fresh Young Designer of the Year’ recipients at Parisian tradeshow Who’s Next the following year, he seems well on the way to stardom.

Looking the part with a green Jaguar convertible and sporting a spiky mullet, 35-year-old Wang is clearly aware that he represents a new generation of well-travelled and style-savvy Chinese. He divides his time between his parents’ small flat in Shanghai and an apartment in South Kensington – 'It’s a bit expensive but I love it,' he says. These diverse influences are reflected in his swishy feminine designs.

Wang attributes his success to international experience and a few key mentors. Born to an artist father, he was representing Shanghai in national youth art contests by the age of 13. He went on to study art and design at Shanghai’s Donghua University, an education he says was overly focused on drawing rather than creative concepts and commercial branding. 'No wonder [in China] we’re not producing designers – we're educating tailors,' he scolds, suggesting that it will still take at least 20 years to change the system. 

After graduation he worked for SB Polo in Hong Kong, an affiliate of the US leisurewear giant, then teamed up with veteran artist and designer Chen Yifei to create the Layefe brand, rolling out more than 175 stores in China, Japan and South Korea.

In 2003, Wang established his own label, Wang Wei Gallery, and moved to Europe to find his niche among the world’s fashion elite. It was a bold but vital step in an attempt to become a global player. 'For the last century, Europe has been the fashion centre, so modern fashion is based on Western culture,' he says. 'You need to first understand Western style, and then inject your own philosophy in order to be successful.'

Wang wasn't interested in Mandarin collars and dragon motifs, however. He began deconstructing, peeling away layers until he reached 'a very peaceful place, but with a powerful core – like the yin and yang.' His designs have a sense of balance and flow in the deep folds of voluminous coats and skirts and striking asymmetrical jackets. 'I try to mix Western concepts with my Eastern philosophy – but that doesn't necessarily mean simply using Eastern elements. I don’t think that just highlighting Chinese culture is the way forward for modern China. We need modern design for the Chinese.'