Robert Wun’s arrival in Hong Kong marked a return of profound significance, embodying not just nostalgia but an artistic triumph. The celebrated designer, who began his journey in London, brought his eponymous brand back to his hometown for the first time since its founding in 2014. This was not merely a fashion show; it was the debut event of CENTRESTAGE ELITES, held in the striking Hong Kong Palace Museum—a venue as fresh and innovative as Wun’s own vision and representing a clear departure from the traditional Hong Kong Convention and Exhibition Centre, where CENTRESTAGE shows are typically held.
For both CENTRESTAGE and Wun, this event felt like a rite of passage. Traversing the expansive grounds of the museum resembled a pilgrimage, symbolizing Wun’s return to his birthplace. As guests navigated the long corridors and spacious courtyards of the newly built museum, anticipation mounted towards the heart of the event—a circular arrangement of seats surrounding a central red stage, akin to a pulsating heart. This setup drew the audience closer to Wun’s world and, perhaps, to the essence of Hong Kong itself.
Wun has always been a storyteller, and he makes no secret of it. “I believe fashion is meant to reignite the imagination,” he stated before the show. Indeed, “Home Coming,” the theme of this presentation, was a tribute to his grandmother and the women of Hong Kong—a balance of strength and elegance that shaped his upbringing and, consequently, his creative spirit. He recalled discovering a fashion magazine at the age of nine in a hair salon, a moment that sparked his lifelong passion for design. This personal connection to his roots was reflected in one of the key pieces of the collection: a deep lilac dress reminiscent of a jacket he once made for his grandmother for his sister’s wedding. The model wearing this dress held a baby—a poignant image that many saw as a symbol of new beginnings and continuity—potentially reflecting Wun himself, hinting at his own return to his roots and a rebirth as an artist in his hometown. The spectacle was more than just a nod to the past. It was a testament to Wun’s development as a designer.
Born in Hong Kong, Wun was discovered by the esteemed Joyce Boutique after presenting his graduation collection at the London College of Fashion in 2012. He founded his eponymous brand in 2014, marking the beginning of an inspiring and highly acclaimed journey. Over the years, his fashion achievements have garnered broad recognition. In 2020, he was named one of Fashion Asia Hong Kong’s “10 Asian Designers to Watch.” In 2022, he received the ANDAM Fashion Awards Prix Spécial and was recognized in 2023 by Vogue Business 100 and Tatler Asia as one of the most influential figures in fashion. In January 2023, he made his debut at Paris Fashion Week, showcasing his first Haute Couture collection at the closing show, supported by CHANEL President Bruno Pavlovsky. His designs have been worn by international celebrities such as Beyoncé, Celine Dion, Lady Gaga, Adele, Cardi B, Florence Pugh, and Billy Porter. He has also designed costumes for the Royal Ballet, the successful film “The Hunger Games,” and a commercial for Hong Kong’s Wong Kar-wai.
The CENTRESTAGE ELITES show was more than just a display of fashion artistry; it was a celebration of Wun’s journey. Celebrities, industry icons, and fashion enthusiasts, including Kelly Chen, Fan Bingbing, Josie Ho, Janet Ma, Stephy Tang, Yoyo Cao, and Elva Ni, added glamour to the event, with some of them wearing Robert Wun designs. Attendees of the fashion show passed through the crimson doors of the museum to witness the Haute Couture spectacle. Renowned actress Kara Wai, supermodel Qi Qi, and Japanese-American singer Mika Hashizume elegantly presented 21 exquisitely crafted outfits by Robert Wun, some of which were inspired by Hong Kong’s diverse arts and the essence of femininity. The outfits were artfully displayed on a red-themed stage adorned with sandalwood incense sticks. The show showcased the ten-year journey of the brand, marked by growth and innovation, and immersed the audience in a captivating fashion experience that was met with applause.
Following the show, Wun expressed his desire to dress the illustrious Tilda Swinton—a wish that will likely be fulfilled given his remarkable career. This statement reflects his ongoing commitment to pushing the boundaries of fashion and collaborating with iconic personalities.
Beneath the stunning presentation and drama of the show lay a deeper significance. Although the event was intended as a “homecoming,” there was a sense of distance in how the audience moved through the museum to reach the show. This traversal through the museum’s spaces could be seen as a metaphor for Wun’s own journey through the fashion world, which ultimately led him back to his roots. It raises the question of whether this was a true return or a reminder that the past, in fashion as in life, must be viewed and understood in multifaceted ways.
Wun’s latest collections seemed to engage with this complex relationship with time and memory. The Spring/Summer 2024 collection, titled “For Love,” explored love in its many dimensions—not just romantic love but also the passion that drives us, the love for family, and the memories that remain. In his words, he aimed to “create a universe where horror can be graceful, flaws are inevitable beauty, and grief is a reflection of the love we had.” It was an intensely personal collection, filled with the rawness of his emotions and the tension between creation and loss. The Autumn/Winter 2024 collection, “Time,” was another exploration that marked his brand with a reflection on the transience of being—the shedding of layers, both physical and spiritual, and the acceptance of an inevitable end.
In this light, “Home Coming” was not merely a return to Hong Kong; it was a philosophical reflection, a quiet acknowledgment of the end of a journey and its paradoxical beauty. The stunning backdrop of the museum, with its contemporary architectural marvels, provided a striking setting for this exploration of the convergence of past and present and the relentless passage of time.
Ultimately, did Wun’s return achieve its purpose? It depends on how one defines success. If it was about redefining the boundaries of fashion presentation, then yes, he accomplished it brilliantly. If it was about reconnecting with his roots, the journey—both metaphorical and literal—was a statement in itself. For ultimately, this show was not just about fashion. It was a meditation on where we come from, where we are going, and what it means to return home—even when the journey home is sometimes the longest and most winding of all.
The close-ups are by the author and the catwalk pictures by HKTDC.
