Introducing Demon Zhang, the Creative Director of MITHRIDATE, a luxury Chinese brand born from a rich blend of Eastern heritage touched by Western influences. With roots at Central Saint Martins and experience under the tutelage of fashion luminaries like Lee Alexander McQueen and John Galliano, Zhang has carved a distinct path in the fashion world. Her latest collaboration with LuisaViaRoma marks an exciting chapter, as MITHRIDATE’s exclusive capsule launch brings a fusion of traditional Chinese elements, contemporary design and Western taste typical of LuisaViaRoma. The capsule is accompanied by an exclusive collection launch dinner in Paris for fashion week, and an in-store pop-up in via Roma. Join us as we delve into Zhang’s creative journey with MITHRIDATE and the unique narrative behind her capsule collection for LuisaViaRoma.
The name “MITHRIDATE” has historical roots as a remedy to cure poisoning, and you describe your designs as a therapeutic offering for self-expression through clothing. How did you arrive at this connection and how does this concept of “a cure” play out in your design philosophy?
Because of experiencing nearly three years of the epidemic, both myself, friends and family around have gone through states of recovering, therapy, and healing. Therefore, this series of attempts revolve around the theme of “Cure”. In fact, in Chinese, “Cure” has two meanings: one in progress and one completed. Treatment and healing both in physical and spiritual aspects. Regarding the materials used: traditional Chinese medicinal plants are used as plant dyes, and some textiles are made from fibers of mugwort and artemisia argyi plants. They have natural antibacterial and bactericidal effects. The patterns are derived from traditional Chinese medicine prescriptions, and herbs mentioned in the traditional “廿四味”（one of the herbal teas famous in Guangdong, China) are also introduced. They are commonly used to treat symptoms of colds and flu.
Therefore, this series of attempts revolves around the theme of “Cure”. In fact, in Chinese, “Cure” has two meanings: one in progress and one completed. Treatment and healing both in physical and spiritual aspects.
In what ways do your designs act as a form of protection and contribute to individuals expressing their identities, especially in the context of genderless, seasonless dressing?
Actually, clothing itself does not have a gender distinction. There’s only a functional differentiation. It’s the wearer who imbues the clothing with “gender,” and then, based on wearing habits and life situations, it gains seasonal and occasional relevance, and so on. So, in my understanding, the wearer themselves is the core of clothing. Clothing serves the wearer.
When I incorporate this design principle into my work, each set of clothing becomes a carrier of a core, and how it is presented depends crucially on the wearer’s complementarity. Therefore, I do not limit gender, age, etc., in the original design. I simply transform the perspective I want to convey and the story I want to express into clothing and accessories, leaving the expression of personal identity to the wearer. This will always be a mutually completed task between both parties. (Laughs)
Can you tell us more about your inspiration for this capsule collection and what makes it unique to LuisaViaRoma?
The gourd is a highly significant source of inspiration in this collection and represents a very emblematic element in the design theme of this season. As a plant native to China, the gourd has a long history and has been utilized in various contexts. In Chinese characters, the gourd has many different names due to its importance in daily life—for instance, when used as a vessel for medicine, it is called “葫芦” (húlu); the idiom “悬壶济世” (xuán hú jì shì), meaning to use medical skills to help the people, also originates from here.
Our design team utilizes different materials, printing/dyeing techniques, and traditional Chinese silk flower craftsmanship to portray these medicinal herbs and flowers with healing properties. This is how MITHRIDATE tells stories and interprets design themes.
We are honored to collaborate with LuisaViaRoma, and we share a common commitment to storytelling methods and craftsmanship presentation in design. We look forward to seeing MITHRIDATE displayed in boutique stores with rich cultural heritage, believing it will be an exciting collision of styles.
The significance of detail is emphasized in your collections, particularly in the representation of flowers. Can you share more about the importance of these details and the story they tell within the collection?
This season, we extracted different flower shapes from commonly used medicinal herbs in traditional Chinese medicine. Based on the medicinal properties of these flowers, we created print designs. Sometimes, a complete printed fabric reflects a complete traditional Chinese medicine formula. Through techniques such as burning, indigo dyeing, bean dyeing, and bead embroidery, we present the flowers on the fabric, allowing their form, color, and texture to give fashion various styles.
Of note is the bean dyeing technique used in the Spring/Summer 24 collection. We adopted the traditional indigo dyeing method—using soybean paste to create resist paste. Flower patterns were carved out of hard paper, and the paste was applied to the fabric pieces, which were then dried in a cool place. They were then dipped into a plant dyeing solution that had been boiled and fermented. After dyeing, excess color was washed away, and the paste was scraped off with a spatula. After several repetitions, the floral printed fabric was created.
This fabric has a gentle blue hue and a rustic texture. It’s not as precise as modern machine printing, giving it a somewhat “naive” or “clumsy” appearance, reminiscent of traditional rural fabrics. However, the combination of this expression technique with contemporary tailoring surprisingly creates a relaxed and fun atmosphere.
MITHRIDATE seeks to blend East and West aesthetics, as seen in collaborations like this one with LuisaViaRoma. In what ways does this fusion manifest in your designs, and what do these types of East and West collaborations mean on a larger scale for your brand and the global fashion industry?
Combining traditional Chinese elements (colors, patterns, materials, cutting techniques) with mainstream Western daily wear is not about unilateral decisions but more about mutual exchange.
Personally, I am fond of street elements in design and style. Street fashion embodies cultural fusion—it’s vibrant, imaginative, and never conventional. So, sometimes I try to incorporate a “street” attitude to deal with the conflict and fusion between “East” and “West,” “tradition” and “trend.” For example, this season, we incorporated patchwork and woven textures of auspicious clouds and gourd patterns onto denim jackets, while balancing the complex patterns with an over-size silhouette.
Some of our evening dresses feature traditional silk flower craftsmanship from the Jiangnan region of China, showcasing intricate floral patterns and printed silk fabric. However, these dresses are tailored with modern simplicity to enhance comfort and versatility. They can be paired with items like suits, trench coats, or Roman lace-up sandals, creating interesting mix-and-match outfits. We also experiment with unexpected combinations, such as pairing Chinese-style mandarin collar or cross-collar printed shirts with low-rise, loose-fit distressed jeans.
In my understanding, with the rapid advancement of technology and transportation, the distance between people is getting closer and closer, and at the same time, we are gradually breaking free from “information cocoons” effect. Communication should be continuous exchange and progression, keeping up with the times. Reasonable and effective communication can solve many problems. Although the development trend of globalization may encounter temporary setbacks due to various reasons, it will not halt the overall progress. Therefore, through continuous communication and exchange, we will move further and more steadily.
