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SANKUANZ is established by fashion designer Shangguan Zhe in 2013. The brand is characterized by strong fusions, with its unique visual language of coolness and hardcoreness, portraying genderless oriental figures with a sense of rebellion, and interpreting its philosophical thinking of faith and collectivism.

Shangguan Zhe started his own fashion brand, SANKUANZ, in 2013. In the same year, SANKUANZ made debut at Shanghai Fashion Week. In 2015, Zhe was named an LVMH Prize finalist. He has also been acknowledged by the Business of Fashion as part of their BOF500 for two consecutive years in 2016 and 2017. Starting from 2016, SANKUANZ has been a part of the official Paris Fashion Week Men’s calendar, presenting its collections in Paris every season. Focusing on mutual influences, Zhe’s fashion pieces are characterized by a deep integration, expressing a hardcore collective spirit.

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Embarking on a nostalgic journey, the Autumn/Winter 2024 collection returns to the essence of the SANKUANZ identity by revisiting the revered Kangrinboqê, a sacred mountain of profound significance in Buddhism and the muse for the brand’s inaugural collection that debuted 11 years ago. In this latest chapter, the collection delves into a nuanced fusion of classicism and modernity, seamlessly blending elements of luxury and streetwear, as well as weaving together the cultural tapestries of Eastern imagery and Western representations.


SANKUANZ, in collaboration with the artists of ENCOR Studio, presents a reinterpretation of the Kangrinboqê landscape through an ethereal light installation at the heart of the venue. Elevating the sensory experience, the show's soundtrack features the composition 'Seven Diamond Lines' by Chinese musical artist Tadi Yan, woven with the sacred chants of Buddhist texts. This audio journey acts as a portal, transporting the audience to the summit of the mountain.


Tracing its roots through the rich diversity of ethnic styles, from Han to Tibetan, SANKUANZ embraces a loose and generous silhouette that pays homage to traditional Chinese attire and breathes new life into classic tailoring archetypes. Traditional Tibetan robe draping takes center stage on coats, sweatshirts, and jackets, redefining the essence of the East with a sense of modernity. The cross-collar, reminiscent of Tibetan khata scarves, undergoes a creative reimagining, finding expression in twisted jackets, shirts, wrapped collars, and in dresses with geometric necklines and V-front jeans. The season's palette draws inspiration from nature's hues—burgundy reds, earthy browns, camouflage olives, and tranquil blues—reflecting the reverence for nature embedded in early Eastern religions.


The iconic dagger can be found as ornamentation on zippers and drawstrings, also shaping the pointed toes of distressed cowboy boots and mules. Beyond its stylistic significance, the dagger holds deeper symbolism, frequently employed in Buddhist rituals, further emphasizing the collection's spiritual connection to the sacred Kangrinboqê. A jewelry collection featuring the distinctive dagger motif is also unveiled this season.


Within this collection, SANKUANZ features artworks by South Korean tattoo artist and illustrator Miki Kim in a collaboration that showcases her ‘Human Orchid Mantis’ series. The poised and observant form of the mantis fused with the feminine figure creates a powerful visual impact, further heightened by the dynamic rendering of graphic elements throughout the collection.


Also debuting on this runway is a capsule collection that draws inspiration from SANKUANZ’s latest signature sneaker, Bumpy. The collection features new styles of the sneakers, complemented by an assortment of clothing that echoes the disruptive and rebelliousness of the sneakers. With the Bumpy mascot and graffiti prints, these pieces serve as a canvas, expressing the unbridled spirit of youth.

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AW24

The Giantess, with her many faces in mythology, has served as the symbol of destruction and creation, the representation of chaos and order, and the metaphor for death and rebirth. This season, the Giantess has been chosen as the inspiration for the SANKUANZ Spring/Summer 2024 collection. The multi- dimensionality and complexity of the Giantess is interpreted with a design language that blurs the lines between gender, and blends street style and high fashion with pluralism and depth.

Following la veuve noire of the previous season, “CHAPTER 4 GIANTESS” continues the brand’s homage to the female strength as it features a collaboration with artist Amanda Ba. Her contemporary illustrations of the Giantess and the Pitbull is presented in various textile techniques, including print on mesh and laser printed denim. Abrasion and stain effects convey an incorrigibility and an aversion to conformity behind the vintage-store-bought appearance. And to drastically contrast (or perhaps perfectly complement) the fierceness of the Giantess, SANKUANZ retains its humour and inclination towards pop art and playful elements in adorable cartoon graphics that adorn the typically masculine garments in the form of prints and accessories. Plushie keychains in vibrant colours clash with Amanda’s harsh illustrations and the violence of the brand’s signature dagger details, emphasizing the diversity of our current youth culture. Alongside the classic black and white, the palette of this season includes SANKUANZ’s green and purple adapted into soft hues of lime and lavender to balance the vivid visuals of Amanda’s fervent red paintings.

Bags are innovated in new materials and designs: the Classic Dagger Bag is reintroduced in satin, offering a refined alternative to variegate the predominantly rugged materials, such as with the Loop Dagger Bag in silver debuting a wrinkled and creased leather finish. The traditional Chinese weapon called the “meteor hammer” featured in the Autumn/Winter 2021 show inspired “cherry bomb” purses —mini rigid spherical spiked purses hanging on leather straps. These “cherry bombs” also pop up as graphics on garments and the Dagger Cowboy Boots, one of which is upcycled from vintage cowboy boots.

The jewellery and accessories of this season share the attributes of defence and confrontation. Special masks shroud the entire face with metal mesh covered in miniature daggers or spikes that drip red jewels, melding the juxtapositional expressions of guardedness and belligerence. The dagger is continuously being reimagined in a multitude of forms: embellishing the tips of lapels and collars of shirts, the ends of drawstrings and pointed toes and heels of footwear —a constant reminder of SANKUANZ’s combative edge. The Bumpy Sneakers are brought back to imbue the sleek sharp selection of footwear with the brand’s distinctive sporty spirit.

A classic-style building in Paris has been selected to be the setting for this collection. A projection of Amanda’s Titanomachia, 2022 onto the ceiling transforms the room into a crimson space, dominated by her Giantesses’ imposing presence. The music, produced by 高龙宇 Alice Longyu Gao, constructs through its rebellious tunes a place where classicism and pop converge, mingle and collide. With the unveiling of the Spring/Summer 2024 collection, the brand is once more able to unite art, fashion and music to assemble a visceral installation that brings to Paris the core values of SANKUANZ.

SS24

INSPIRATION: DANCER IN THE VOID
This season started with the Dakinis, mystical deities worshipped by diverse ethnicities and cultures across Asia. Multifaceted, they are both compassionate and destructive, extremely beautiful and extraordinarily intimidating. Through the Dakinis' intense aggression and unbridled beauty, SANKUANZ blends their silent and wrathful forms to explore the freedom of the self.


TAILORING: AN AMALGAM
Tailoring continues to tell a prominent story at SANKUANZ, through reinterpretations of traditional Western shapes combined with the oversized, wrapped garments of various traditional costumes across Asia. Crossed collars and fronts, hip-hugging belts, and voluminous, elongated sleeves redefine proportions across suits, jackets, and workwear pieces. Collars have been extended from behind the neckline, down the sleeve, and finish at the cuff, echoing the silhouette of wrap shawls.


FABRIC AND PRINTS: DENIM AND CHECKS
The denim look drives the collection this season, featuring unfinished hems and a sleek nylon that mimics its look. It's complemented by softer, elevated fabrics like silk jacquards and taffetas reminiscent of Chinese brocade. SANKUANZ juxtaposes the subtle Asian motifs with Western plaids and its signature camo print.


JEWELRY: SYMBOLS
The collection transforms the body into symbolic adornments such as earrings, bracelets, and armbands. Decorative fangs and claws represent inner demons often associated with the Dakinis.
Traditional knotting techniques are manifested in oversized necklaces and earrings plated in gold. A pendant of clustered horse-eye gems forming a dagger's hilt evokes the essence of a ritual object.


SHOES AND BAGS: MIXED AESTHETICS
What has become a SANKUANZ leitmotif-the dagger-has been updated across shoes and bags. The 'Dagger Boots' have been reimagined by melding with a sneaker body, and continue to feature in high heels and boots. A new addition includes the boho bag, crafted from suede or translucent material with the distinctive dagger detail, expanding the collection of iconic 'Dagger Bags’.


ARTIST COLLABORATION: AN OSCILLATION
Amandalaom, a collaborative project between SANKUANZ and the experimental musician Wang Fan, provides the show's evocative soundtrack. The wordless meditation resonates with the corporeal energy, striving to bridge this era of humanity with eras past.

SS25

A vicious killer –both victim and executioner– clutches a sharp blade for self-defense and cold- blood murder. They are no stranger to violent tendencies. This obsession with danger and thirst for blood is the inspiration for this season.

The SANKUANZ Autumn-Winter 2023 collection continues an in-depth exploration into the integration of street style in high fashion. The silhouette of the Tibetan robe from last season has evolved, now with sleeves that blend into pleats, bringing forth a balance between traditional oriental style and street fashion. A new design is introduced with the absence of neckline and an overly-inclined shoulder-line, forming a radial shape at the back, revealing the unique charm of oriental shapes. High-shoulder suits command power, while graffiti prints reflect the collision and fusion of high fashion and street culture as they exist in the same universe. Vintage furs invoke an ominous feeling, as if danger is lurking underneath the luscious outerwear. The palette of this season consists of browns, tortoiseshell colors and other dark shades that evoke a sense of nostalgia, as this collection reinvents the style of 70-80s with a modern design.

The dagger, a signature symbol of SANKUANZ, is incorporated in new ways in the leatherware of this collection. It is used at the toecap and the heel of pointed cowboy boots and the end of belts, like a killer’s lethal weapon in disguise. These details establish a sinister atmosphere when accompanied by the crimson clutch, a metaphor for bloodshed.

The chunky retro sneakers, a statement item of SANKUANZ, are featured in new colors and bring an element of disruption with its rugged and oversized volume.

The AW23 runway show is set in an abandoned parking garage in Paris. The models stride through the space with crimson on their face, hands, and bags. Carrying accessories inspired by car keys, they play the main role in a dramatic scene: A killer is walking away from their crime scene, to drive towards their unpredictable end.

AW23

The cycle of life and death never stops, and this constitutes the order of the universe. SANKUANZ SS23 continues the speculative exploration of life and death from its last season, realizing deep integration of street style and high fashion in multiple ways. The sacred peak of Kangrinboqê (Mount Kailash) is the theme for this collection. The eternal spiritual destination, the loop of life and death in a fantasy world… the brand conveys its understanding of oriental traditional imagery in its unique aesthetics.

The oriental cross-collar is used as an essential feature throughout the collection, accompanied with various choices of fabric and silhouettes, forming deep emotional connections with regional folk elements. With the modern deconstruction method of SANKUANZ, the unique shape of Tibetan robes is stunningly translated into fashion, the asymmetrical oversized silhouette exuding a rough and primitive power. The wrapping design of dresses is inspired by Tibetan monks’ robes. An extravagant number of folds are formed from wrapping, stacking and twinning of fabrics around the body, creating an original abstraction. The designer reinterprets the costume of the traditional Vajra dance, launching an aesthetic exploration of the human body with a three-layered silhouette with rich folds, portraying a perfectly powerful image with traditional ethnic clothing. The unique design language of SANKUANZ reinvigorates these ancient folk elements, giving them a whole new glamour and making them an integral part of the modern fashion.

The bright and beautiful colours of this collection is another way to present the Tibetan arts. The turquoise comes from the breathtaking nature of the snow-covered plateau, the bright orange is inspired by the prayer flags and the Tibetan pangden (women’s colorfully striped aprons), and the maroon portraits the hue of the robe of Tibetan monks. SANKUANZ colours modern garments with a highland palette, instilling the looks with a strong spiritual power. The skeleton, manifestation of the Lords of Shmashana - the symbol of Death, is used as graphic print, ornamented with the pattern of vajra, a ritual item of Tibetan Buddhism, depicting the entanglement of life and death in a flaunting style of graffiti, blending the street culture with folk art in an expressive way. The signature Dagger bag comes in a brand new design: the symbol of dagger now evolves into a fiery shape, conveying a sense of mystery and primitiveness.

The looks of this collection are photographed in a pasturing area in a Tibetan autonomous prefecture. With the clothing echoing its place of inspiration, the style of the whole collection is presented to its greatest extent.

SS23

SANKUANZ AW22, titled A Room With No Sound, re-deconstructs high fashion and street culture in its symbolic method of destruction, combining with the classic elements from previous collections, enhancing the narrative style of the brand through the transition from the old to the new.

This collection breaks the barrier of distinct social classes with a combination of high fashion and street elements, while retaining the sharp contradiction and antagonism between different styles. Thrusting square-shouldered suits represent the originality of contemporary youth who refuse assimilation. The fluctuating pleats is a continuation of fabric exploration, expressing surging emotions in a destructive and abstract way with layers and twists. Street-art graffiti and bleach effects of a casual and crude style all over hoodie ensembles emphasize the rebellious spirit against mainstream social norms. The juxtaposition of holes, spikes and tulles with a stark contrast of perplexity, brutality and poetry reveals the opposition of high-end exquisiteness and chaotic disorder, constituting a two-way contradiction of resistance and desire.


The sculpture pieces carried by models are created by artist Yuyu Wang. The organic shapes, made from silicon, plaster and resin, arouse the imagination of human body parts, or even internal organs. In collaboration with SANKUANZ, these works are held in hand or wrapped around models’ neck or limbs, presenting a scenic structure consisting of body and bionic objects, artificial parts and “organs”. This method, similar to proliferation, can also be seen in footwear. The collaboration between SANKUANZ and SCRY (an innovative and experimental footwear brand) hybridize two types of shoes made with 3D printing technology based on the idea of shoe-in-shoe, combining two shapes which oppose each other yet cannot be split apart.


The show takes place at former Union Church in Shanghai. A whole new version of A Room With No Sound, created specially for SANKUANZ and tailored to the brand by the band MUMA, is performed in the solemn space. The poetic rock music conveys the rebellion spirit of idealism against the existing systems. The dance under the sunshine after being silenced, depicted in the song, is transformed into models with milky white eyes or painted faces walking onto the runway. Hearing is replaced by the optical sense, and silence is transposed into blindness. Humans are driven by missing senses to explore new ways of connection with the world, towards reconstruction from the chaos, and a new birth after destruction – which coincides with the theme of this collection.

AW22

The theme for Sankuanz SS22 - Bells From Another China, explores youth culture with an oriental style and interprets the unique aesthetics and asexuality of the brand.

Bells sometimes ring a harsh alarm of the reality, sometimes serve as a traditional tool of searching for spiritual culture in the nihility. This season of Sankuanz is conceived against this background - the Bells From Another China deliver messages of individuals, help us express ourselves beyond the linguistic obstacle, and inject a sense of fashion into the cool aesthetics of the Orient.

This season continues the iconic edgy style of Sankuanz in its previous collections, in search of new possibilities in the scene of youth culture with a spirit of creativity, displaying great insight and inclusiveness. This inclusiveness reflects in the absence of gender differences in the garments of Sankuanz, enabling the flow of fashion among genders, breaking existing borders and prejudices. The classic symbol of the Sankuanz Cross features repeatedly on dresses and pants, with a sense of order and aggressivity and a piercing appeal of coolness. The use of tweed brings out an atmosphere of holiness and solemnness, a more tender expression than the penetrating Cross. Suits of blotted ink print in apricot color, inspired by the techniques of freehand brushwork and intentional blankness from the traditional Chinese art, take on a casual and effortless style, perfect for the seasons of spring and summer. And the new items of the oriental pale blue have acquired their sophisticated color from the glaze of traditional chinaware.

Graffiti designs, inspired from underground youth culture, feature on T-shirts as a symbol of the vigor and recklessness of the young generation, in the form of a free flow of imagination and creativity. The classic design of jeans with a double-layered cut retains its unruly tone, and the blotted ink print further emphasizes an unbounded nature, leaving an impressive mark in this restless era.

The video of this season is created inside a circular-shaped building, where models walk along as if climbing up a modern version of Babel tower, or strolling inside a giant bronze bell from ancient times, experiencing some great inner circulation, going through constant reflection and introspection. This atmosphere of religious rituals coincides with the theme of 22SS: let’s ring the Bells from another China and bring out a surreal charm.

SS22

SANKUANZ Autumn/Winter 2021 is the result of the post-pandemic era. When public order is compromised, when common sense is challenged, when chaos and disorder become the new norm, how would human beings cope with this reality? This is the subject this season is trying to address.

The show was held under a 1/3 scale replica of the Eiffel tower in Tiandu City, Hangzhou. The absurd building covered in hasty darkness stands as the symbol of pre-pandemic civilisation, as well as a joke with dark humor. The collection continues the cold and sharp style from previous seasons. The metal spikes, buckled leather straps as well as the cilices meticulously hidden around the waist, may all seem to be terribly aggressive. But in fact, the aggressions are directed at the wearer himself, symbolising self-punishment. If this world-wide pandemic is nature's punishment for the human race, then self-punishment is to offset sorrow with sorrow. Attack and defence form together a dynamic balance.

Randomness is another major feature of the collection. Designer Shangguan Zhe burned the denim fabric with flame torches in order to create unique and irreproducible patterns. Meme prints convey fleeting emotions in the form of pop culture. Both of these attempts intend to capture ephemeral possibilities. Exaggerated shoulders, metal tassel dress, tweed suits densely decorated with studs… all these details showcased a novel definition of craftsmanship and modern luxury. Low-rise design is adopted for the very first time and is paired with quality denim fabric. The Othala symbol is further enhanced this season. Reoccurring Othala accessories create a mysterious atmosphere for the collection. The Othala symbol gains power through repetition.

SANKUANZ presents this season its new bag collection "OTHALA", a classic square bag with extra wide shoulder strap, detailed with Othala symbol and metallic buckles. The bag is available in two colours. The "CUBE" square-toe sneakers are also available in two new colours this season. The pre-released GENTLE MONSTER sunglasses collaboration is also embellished with the SANKUANZ signature Othala symbol on the side.

This season, artist Zhou Yilun collaborated with SANKUANZ for the first time, deconstructing some of the pieces with his signature disruptive approach. Artist Zhang Ding, who collaborated with the brand last season, also made a cameo appearance in the video. The band Stolen tailor-made the music for the collection. This season's video also features SANKUANZ's new collaboration with G-SHOCK, the MT-G series, which will be available soon.

AW21

For the SS21 collection designer Shangguan Zhe draws inspiration from diverse ethnic cultures while retaining the cool style of SANKUANZ. High-shoulder suits channeling traditional Mongol costumes carry a grasslands hero spirit, while shirts and tailored pieces feature spins on Mandarin collars and ancient shawls in a wardrobe blending ethnic codes with nods to pop culture symbols.

Dressy looks are either stiff and constructed or loose and sensual, such as laser-cut tuxedo suits or long draped gowns inspired by Pieter Hugo’s images of marginalized African communities dressed in soft and fluid fabric knotted around the body, paired with military uniforms or on long printed dresses draped at one shoulder that exude effortless grace.

Honing a balance between modern and primitive elements, uniform references rub shoulders with casual streetwear pieces emblazoned with the brand’s signature elements, including the Othala Rune symbol and metallic daggers, which evoke ceremonial props, tribal motifs in crystal studs and pop-culture prints on T-shirts, all symbolizing fusion and collision between different cultures in the context of globalization. Following the teaser for the Solution sneakers unveiled in this collection, the brand’s collaboration with adidas Originals continues to gain momentum, with a new capsule set to launch in October 2020.

The collection’s incisive interpretations of ethnic and pop culture elements are captured in the powerful video work Phosphorescence by artist Zhang Ding, generating a digital world peopled by phosphorescent forms.

Zhang Ding: “Reality disintegrates into phosphorescent beings.”

SS21

Designer Shangguan Zhe for the SANKUANZ Autumn-Winter 2020 collection takes as his starting point “Century”, a poem by the Russian and Soviet essayist and poet Osip Mandelstam. Conjuring the conflict and harmony between culture and ideology, the collection combines nods to pop culture icons in today’s consumerist society with an array of military styles spanning chic uniforms and streetwear-inflected combat looks.

In a consistent reformulation of the brand’s signature themes of protection, the military-inspired line-up conveys the fierce allure of both the casual urban streetwear looks of a rebel warrior and the sleek rigor of ceremonial attire. Conferring an almost religious aspect to these incisive looks, striking ornamentation with metallic dagger details and the OTHLA logo surfaces on accessories, shaping jewelry pieces or adorning uniform style clothes like crests and medals. This strong accent on metallics and hardware embellishments culminates in the soldier vests and jackets covered with big shiny logos, and in the metal studded, graffiti-printed leather jackets and ripped black denim pieces.

The more polished tailored pieces are precisely cut in sleek plain black fabrics, adding a dangerously razor-sharp allure to total looks finished with pointy toe ankle boots or pumps.

The mostly black collection is highlighted with contrasting flashes of the brand’s neon green signature color. The distinctive lime shades of the thin line featured on the house’s tag is echoed in the collection’s prints made from the Chinese artist Zhang Ding's artwork "High-Speed Forms"; as military decorations and spray paint motifs on jackets, and as a vibrant monochrome on fluid pants or boxy tartan shirts.

The collection also offers an extensive range of shoes with new versions of the brand’s bestsellers such as the square-toe “Cube” sneakers, in plain white or black, and the iconic “shoe-for-shoe” strappy style. The streamlined allure of shiny silver or glossy black pointy pumps and ankle boots build on the dagger-sharp shape and sport an acid green line along the soles. In the same vein, British Army-inspired black leather box bags with large shoulder straps and big metallic buckles are worn across the chest like military uniform sashes.

For this season, SANKUANZ is also expanding into jewelry with pieces based on its signature weapon-inspired shapes, from gilded necklaces and pendant earrings with needle-like accumulations to hi-tech barb wire necklaces and earrings. The dagger motif also inspired this season’s ear-pod earrings, while metallic cables morphing into necklaces reflect our ultra-connected modern society. The show also includes a taster of a new collaboration with adidas Originals, set to be revealed this coming spring. Playing on both brands’ identities, the looks combine sporty, graphic adidas Originals codes with SANKUANZ’s layered, reversible designs and hallmark details.

AW20

Designer Shangguan Zhe this season pays tribute to some of the visual aspects of American culture, working his reality-versus-fantasy vision to raise questions around the growingly dominant virtual lens through which our world is perceived. Key influences include the powerful portraits of Richard Avedon’s iconic tome, “In the American West” mixed with the aesthetics of the Coen Brothers movies and the “Red Dead Redemption 2” video game.

Zhe deftly evolves his sartorial commentary on modern society with a highly detailed Spring-Summer 2020 collection that combines western cultural references, cinematic homages and whimsical flourishes, creating unique reformulations of the season’s prominent American folklore theme. Supported by a strong and directional street casting, the designer treads the balance between “tongue in cheek” eccentric takes on Western cowboy costumes and the brand’s signature, more classic, streetwear and military-inspired engineered pieces. Sprayed colored graffiti, art-inspired prints and glitzy logo embellishments such as Swarovski crystal embroideries and brightly colored motifs are liberally showered on an exhilarating parade of looks evoking Las Vegas Cowboys as well as cops and gangsters straight out of “Mean Streets”. A sense of stage costume pervades the all-over spray paint graffiti printed on fluid satin shirts and matching jackets with peak collars, or on shirts with long red fringes running down their fronts and arms. Hitting on cinematographic homages, 70s tailored suits with flared pants have the dark romance of the pimp protagonist of an American movie and even flirt with a feminine side when cut in a pale pink satin with gathered fabric panels cascading down the sleeves. In the same vein some of the leopard motif jacquard tuxedo or denim jackets are sometimes paired with fun short shorts for men.

Variations on the Sankuanz logo draw intriguing similarities with the motifs from traditional cowboy gear, surfacing on Western-style shirts and suits or on heavily washed and destroyed denim pants and jersey t-shirts. A worn patina surfaces on the cloudy colored satin bomber jackets worn with matching zipped shorts or on the bleached effects of jersey turtlenecks and tops. Playing on proportions, shrunken knit sweaters sport naïve Cassidy cartoon characters on their fronts, as if nabbed from a kid’s wardrobe. More grounded are the signature contemporary streetwear styles, conceived as reversible layered looks such as a hooded cotton jacket attached to a tartan short-sleeved shirt or bomber jackets that can be flipped inside out. Denim pieces come in raw or black finishes, sometimes embellished with metallic industrial studs tracing the contours of their patterns. Flashing from the rather somber color palette, are daring shots of bright green, sharp lime and bold purple shades that pop on the suede cowboy-chap constructions of denim pants or on the boxy shape of the military bomber for men, and cropped suede jacket for women.

Introduced for the first time on the runway last season, women’s looks follow the 70s silhouettes with impeccably tailored jackets paired with flared pants or sexy shirts and worn with Sankuanz’s signature threatening industrial jewelry. Completing this expansive collection is the Sankuanz footwear ranging from sporty technical sneakers and signature chunky soled “shoe for shoe” sandals on one side to black leather cowboy boot styles, working on the same duality of inspirations. Sankuanz this season also introduces a new collaboration with American shoe brand Timberland, based on updates of their signature 6-inch Boot, designed with an hi-tech injected colored plastic details and made in pale leather versions.

SS20

Using the concept of a fictional military diving squad exploring new underwater territories, designer Shangguan Zhe for AW 2019 continues to build on his reflections on modern society.

Consistently working around the notions of destruction and protection, attack and defense, this highly detailed collection also builds on the idea of confronting oneself via a network of virtual worlds, a comment on the ever-growing digitalized environment. Based on reformulations of some of last season’s silhouettes, Zhe deconstructs and reconstructs urban and military as well as dressy or casual elements into new hybrid pieces flooded with marine- inspired elements including details drawn from military diving suits, killer whales and sailor uniforms.

Plain and elegant sartorial looks including sharply cut jackets, coats and trenches cut with sailor collars and diving suit details are echoed in nautical uniforms and cowboy looks. From the dark flared silhouettes emerge brightly colored crushed velvet shirts and stretch tops, some printed with underwater cityscapes. The distinctive black-and-white silhouette of killer whales inspired the cut of spandex tops and leather jackets or the shiny wet-look finish of black tuxedo-style suits.

Pushing this aggressive/protective idea to couture level, sharp, dagger style metallic details flash menacingly on belts, box bags and metallic pointed collar pins. Bold jewelry pieces in blade shapes including Airpod-shaped earrings or finger covering rings worn together to form weapon gloves finish the looks.

The sleek silhouettes evolve into more casual and engineered outerwear looks directly drawn from hi-tech diving suits. The pieces are cut in a range of classic or innovative fabrics and enriched with myriad details such as the pull zipper of wet suits used on denim and leather total looks to full on protective layers. The big padded parkas, jackets and pants in a dark camouflage motif worn with life vest inspired tops and PU coated or latex hooded jackets and raincoats evoke the dark attire of a furtive underwater squad.

For the first time this season, Shangguan Zhe also integrates some women’s looks in its men’s line- up. The models dressed in black shiny tailored suits, layered bombers jackets or in tight zipped leather outfits carry the same fierce allure as their masculine alter ego.

Completing this detailed collection is a collaboration with the global lifestyle brand Herschel Supply, which produced an elaborate collection of three air tight and waterproof adjustable bags inspired by the scuba diving theme of the collection. 88 rising, the definitive youth platform representing the best creators of Asia, also collaborated on some of the logo inflicted SANKUANZ signature styles.

A special art installation by London-based Chinese artist Zhu Tian creates ‘150119.F’, an airlock room for welcoming attendants. Filled with scaffolding structures, the installation, inspired by London’s first underground hydroponic farm is questioning the critical turning point mankind is facing nowadays.

AW19

SANKUANZ SS19 collection will continue the theme of last season. The concept of “Wall” will be further discussed and expressed. For SANKUANZ, “Wall” represents such two opposing relations: contraining v.s. protecting and destructing v.s. establishing. At the same time when we “kill the wall”, we build up a new “Wall” as well. The “Wall” can be concrete: the Great Wall, the Berlin Wall, the Western Wall etc.. They all represent walls built by different cultures in different periods of history. These walls are examples of restraining and protecting. The “Wall” can also be abstract: networks, religions, styles, desires etc.. A variety of walls are built up in people’s mind. While providing psychological shelters, they also restrain human behavior and thoughts.

Starting from the concept of “Wall”, SANKUANZ uses uniforms from different cultural backgrounds, different regions and different identities as elements to elaborate the brand’s understanding of “Wall”. Uniform is a special set of clothes wore by all members of a certain group, emphasizing the things members have the common. Group behavior can be seen as a “Wall” that restrains and protects all members of the group. Uniforms are the specific forms of clothing produced in this state. In the new collection, SANKUANZ decomposed these uniform elements and reconstruct them to create new products, expressing the coexistent concept of destructing and establishing. Black is the dominant color of this collection, giving a solemn, stoic and alert atmosphere. Green, purple and pink are use as details, continuing the brand’s consistent use of vivid colors. Use of the newly-designed eagle pattern, as well as a large number of sliver accessories, will more vividly and solidly bring the collection a cold, aggressive and protective image.

SS19

Injected with a strong new technological flavor, the Sankuanz Fall-Winter 2018 collection comes packed with the signature military and utilitarian looks designer Shangguan Zhe is known for.

Focusing on innovative fabrics and engineered outerwear, the lines are drawn to express a combative allure. A comment on everyone’s own personal war against what they are facing, be it a physical obstacle, the system or a daunting future.

Developing this idea of fighting for a living, the collection has been designed with very strong graphic accents, new Sankuanz logos and the Kill The Wall slogan appear on patches or as big white letters printed on terry cloth scarves and towels, while an another symbolic logo resembling a secret army blazon is used on black tops or as a pendant on silver rosary necklaces.

Stretch neoprene scuba and motocross-style tops and pants as well as hooded tops with face masks evoke the dark attire of a ninja warrior. Adding another touche of eastern cultural symbol, a special new Sankuanz crest has been adorned with bamboo leaves.

Bramble-inspired camouflage prints, designed by Zhe, sport neon touches, some finished with reflective material. With neon orange, green or yellow flashing on the prints and piping of military looks, sporty tracksuits, football shirts and running leggings, the overall collection pulses to the beats of an underground techno vibe.

An ultra resistant and waterproof fiber is used in different weights to cut the ultralight parkas, hooded jackets and pants, their pale grey, blue or green colors shimmering slightly on the crinkled surfaces.
Tailored suits are cut from a triple-layer bonded fabric with a metallic thread to achieve a heavily rumpled effect.

The looks are completed with Sankuanz signature bags, some in motifs to match the clothes and attached in front of the waist, or robust backpacks, including styles made from Cordura nylon with a removable waterproof protective layer. Multi-purpose pockets are added to pants, jackets, belts and harnesses, enhancing the combat allure, while contrasting patch pockets on military shirts and pants hit on an industrial note.

Looks are finished with hi-top suede and nylon transformable sneakers that come with extra chunky soles that can be strapped on or left off, underscoring the protective spirit of the collection.

AW18

Sankuanz for the Spring-Summer 2018 season pays homage to the late American artist Cy Twombly, using raw linen suits – some painted matte white to evoke plaster sculptures – as the blank canvas.

The line explores various facets of the artist’s universe, from bespoke silica gel-based fabrics dipped in signature Twombly pastels to the references to classical Mediterranean culture that often fed the themes of the artist’s expressive research.

The name Orpheus written on a baseball cap refers to his series based on Greek mythology, while texts from invitations from past exhibitions surface as prints on crinkled, natural linen bib-front shirts and cropped pants.

Covered in motifs recalling his graffiti-like scribbles, some of the tailored looks, cut with Italian flair, are directly inspired by Twombly’s masterpieces, while the shape of the suits nods to his home base: Rome.

The line’s strong bags and backpacks sport cartoonish oversized proportions and clever constructions, with certain styles unfolding like an artist’s toolbox.

Military and streetwear pieces, a signature of Sankuanz founder Shangguan Zhe, are also infused with references and images related to Twombly’s personal life. Black Mountain College lettering, taken from the experimental art school that the artist attended, features on the line’s sporty pieces. Sandy-hued oversized nylon parkas and jackets sport topstitched accents with loose raw threads, also evoking scribbles.

The worn-out nature of dark over-dyed cotton and natural linens contrasts with the synthetic aspect of acid pastels and bright colours, with layered fabrics and motifs in total looks conferring an intense visual impact.

Confronting antiquity and modernity, the exceptional and the commonplace, the collection plays on the dynamic between a youthful, contemporary allure and the passing of time.

SS18

When experiencing the Sankuanz AW17 "Destroys" collection the designer Shangguan Zhe asks you to pull off your white gloves, remove your goggles and look outside of political correctness, outside of politics, at a reversal of an established system. AW17 is Part 2 to the SS17 collection exploring man's relationship with space. This season Zhe explores man's relationship to chemistry now and in the future.
Military uniforms with raw edges reveal an unraveling of the establishment, primitive topstitched suits and parkas, jumpsuits with industrial straps, as well as protective bio-chemical protections suits made from DuPont materials are emblazoned with symbols and emblems suggesting danger or rebellion, like "Immigrant", "Visual Pollution", "Natural Selection", "Massacre" and "Destroy", elements in the globalisation of contemporary society hinting to a post apocalyptic world but in an idealistic way.
The collection is a mix of researched materials, Zhe creates his own textiles in the collection as well as using industrial materials like UHMWPE and aramid fiber also used in NASA spacesuits.
Completing the silhouette are accessories like visored bucket hats, pop military backpacks, high top sock trainers.
"Sometimes, the function and the aesthetics of garments is a mere illusion," Zhe says. You will eventually get wet on a rainy day. Your style will look outdated, embarrassing and ridiculous on a more certain or a
nearer date. Wittgenstein said, sometimes problems are not solved by answers, but by the disappearance of problems themselves. Contemporary times will eventually be gone and replaced by history, and nobody has a backup of this world. In front of the prism of chemistry, of reason, with no trace to idealism, we can only ask questions and verify ideas to acquire the precious moment of reality. Our eyes will see the light and we will become a step closer to a truer vision.
The only hope, the only opportunity to change this situation, lies in rational creations by mankind like chemistry. Chemistry collects not only the outstanding wisdom of a few, but also the psychological needs and the social properties of entire communities.

AW17

Cosmos and religion have been an intertwining couple since ancient times. This time, they serve as the inspiration for 17SS collection of Sankuanz. The designer Shangguan Zhe and the popular contemporary artist Xu Zhen work in collaboration, highlighting the concept of the “Cosmological Religion”. Starry skies and gods represent mankind’s two goals, one outward, one inward. Be it observation of the universe or meditation, both pursue truth, only in different ways. Thanks to new technologies, since Apollo 11 has landed on the Moon, human territory has expanded wider than ever. Yet religion always guards its own place in human mind. According to Zhe, science and religion are not incompatible. He is curious about the relationship of the two subjects in the 21st century universe and dedicates this new collection to this theme.

The inspiration for Sankuanz 17SS originated from an installation work, 

, by Xu Zhen, a leading figure of contemporary Chinese art. It is a foldable tent in form of a gothic church and acts as a metaphor of human’s devotion and vulnerability when one is put into a companion-less environment. As we can recall, when Apollo 8 orbited the Moon for the first time and broadcasted its crew reading verses from the Book of Genesis, there was the similar devotion and vulnerability, which interpreted the intertwining of science and religion in an interesting way. In the collection of Sankuanz 17SS, the designer and the artist avoided repeating their predecessors’ methods or simply borrowing graphics and shapes from artworks, but developed a whole collection from a concept. It is not only a self-challenge for Zhe, but also a new way of collaboration between fashion design and concept art.

This collection starts with high-tech material, which is used in the fabrication of spacesuits, complete with cuben fiber and tape, which are massively used in the fabrication of outdoor tents and spacecrafts, along with mechanical metal accessories, creating a complete touch of the space. Trench coats and suits in long shape and the generous use of black and white mimic monk robe, reproducing the ceremonial atmosphere and the devotion from the House of the Lord. About the looks, Zhe has continued his obsession for military uniform and the hip-hop culture: camouflage is an important graphic element in the whole collection, accompanied by diverse embroidered badges adapted from the logos of NASA, the air force and space pop culture. Among this season is an aviator jumpsuit, now designed as a pair of pants, the empty sleeves dangling around the waist, similar to a Tibetan monk robe. After a great quantity of research, high-tech fabrics, metal tube fittings and transparent cuben fiber are presented gorgeously – these materials used to provide vital support for astronauts and are now juxtaposed with religious symbols by the designer. This paradoxical juxtaposition expanded the concept of the “Cosmological Religion” from 

Tent or spacesuit made of high-tech fabric symbolizes human’s conquest of the nature. From the support for survival in extreme environment to the journey to the vast universe, science has never stopped its pace. It shoulders human’s ultimate quest of the unknown world and keeps expanding constantly into the darker space. On the other hand, as a spiritual sustenance for human, religion is likewise trying to give an ultimate explanation of the unknown. This is also the theme of 17SS collection of Sankuanz.

SS17

Based in Xiamen City, a thriving creative hub located in China's southern part, Shangguan Zhe launched SANKUANZ straight after graduation, focusing on upbeat and progressive menswear. With a background in graphic design, ShangguanZhe's collections are infused with youthful energy, as well as ironic references, which combine fragments of popular culture with the radical voice of contemporary art. Working with photographers, musicians, graphic designers and painters, his approach is collaborative and multidisciplinary, shaped by the eclectic and vibrant coastalcommunity he grew up in. He is, in fact, part of an exciting generation of young designers redefining the landscape of current Chinese fashion. Fascinated with uniforms and the formal language of clothes, the Chinese designer keeps experimenting with fabrics, sartorial codes and embellishment, searching for innovative and subversive ways to twist menswear staples.


SANKUANZ relies on contrasts and balance. The designer's signature can be found in his striking mix of oversize volumes with cleaner tailoring, achieving a subtle yet dramatic effect. Clashes lead to harmonious results, making his silhouettes rather surprising. This season, he pursues his exploration of arresting graphics and shapes, adding edge to urban staples. His use of graphic design is often bold and provocative, such as eye-catching symbols and slogans printed on the back of a fur-trimmed parka. Prints are unusual as well, ranging from allover motifs with a psychedelic feel to playful figures evoking Asian fairy tales, as well as Kenny Scarf's paintings.


The main inspiration of SANKUANZ AW16 collection is the first ever Asian Games held in Beijing in 1990. From this moment, sports began having a significant political role in China. Funded by the government and employed as a means of showcasing its power and the superiority of communism. Zhe as a teenager in the 90's witnessed this monumental event and was greatly influenced by it. Sports acted as a shortcut for common teenagers to overcome poverty and to gain fame. Due to the lack of materials during this period, the idea of wearing oversized sporty uniforms widely spread. Having the latest imported sportswear and personalized items was a major trend among the teenagers.


With the energy of sportswear in mind, as well as the 1990 Asian Summer Games held in Beijing, Zhe reworks hoodies and track pants to a striking effect, either printed or monochromatic, featuring a reworked SANKUANZ logo.
An exclusive flag print references national pride, stripped of its clear symbols to become an abstract form. Tailoring remains sleek and directional, from stripy wool jackets with exaggerated lapels to matching pants resembling pajamas. Military-inspired shapes are paired with easy sportswear, underlining the spontaneous and enduring style of his clothes.


A softer hand defines the fabrics this time, from fluid velvet and smooth PVC to baby corduroy and plush intarsia, as well as featherweight nylon. The color palette is bright and contrasted, with touches of burgundy, army green, fluorescent yellow and purple. Combining man-made textures with noble fibers, Shangguan Zhe approaches modernity in a carefree and liberating way, conjuring up the raw and rebellious voice of awkward teenagehood.