Breaking New Ground in Fashion Design: Insights from Ruoyan Er
Ruoyan Er is an artist in the fashion realm, specializing in draping, garment construction, and textiles. As an alumna of the Savannah College of Art and Design (SCAD), she earned her MFA in Fashion. Ruoyan's career is diverse, spanning fashion design, styling, and marketing. She has held positions such as Fragrance Marketing Assistant at LVMH, Draping Instructor at SCAD, and Freelance Designer, contributing to over 20 brands. Her work has been featured in acclaimed publications and exhibitions, including Vogue and the SCAD Jury Fashion Show.
​
How did your time studying for your BFA in Fashion at Beijing University of Technology (BJUT) shape your design philosophy? What were some key learnings and experiences from your MFA program at Savannah College of Art and Design that contributed to your career development?
​
​
My experience at BJUT was challenging to judge. The emphasis on theory greatly outweighed practical aspects during my attendance. One of the consequences of this was that despite my involvement in various roles within the fashion industry, I still struggled to find my unique style. Nonetheless, it is undeniable that my studies involved extensive exploration of historical data and patterns in the field, which served as a subtle form of cultivation for me. When inspired for a project, I excel in handling literature and moodboards, and I possess a knack for locating relevant information and data.
Regarding my time at SCAD, it marked a period of reinvention for me. I am immensely grateful for the opportunities I had to push boundaries in every class, breaking away from my prior knowledge of fabric crafts and embracing style experimentation, even delving into challenging subjects. SCAD has, above all, instilled in me the courage to fearlessly embrace the future and try everything, a crucial conviction for a fashion designer.
Can you describe your experience teaching fashion, particularly draping, as an instructor at Savannah College of Art and Design, and how it influenced your approach to design?
​
​
Oh, very funny. My students, high school students who have a passion for studying fashion and art and are applying to schools, need to gain a comprehensive understanding of what fashion design entails in terms of both work and process, as well as an introduction to the craft. Interestingly, many of the students appear reserved, yet their drapework can be somewhat uneven. What surprises me, though, is that much of the classroom preparation seems unnecessary, as the students excel and achieve remarkable results through their independent experimentation. However, there are certain fundamental aspects, like data calculation and adding seamlines, that some struggle to grasp, especially when it involves seams on vertical angles and arcs – a comical situation in the classroom. My block pattern class often felt more like a math class, but when it came to designing their own draping alterations, they all displayed remarkable talent.
​
​
What do you find most compelling about using knitting as a medium for artistic expression?
​
​
What strikes me most about knitting as a creative medium is its ability to connect diverse materials. Knitting serves as a versatile vehicle, seamlessly bridging gaps between various materials, needle sizes, holes, textures, and emotions. Much like human relationships, which differ in their dynamics with different individuals, knitting connects people in a unique way.
​
Can you discuss the concept of "knitting" in the community of enthusiasts and how you aim to redefine it through your work?
​
​
I have numerous friends who are passionate knitters, and their process is both efficient and rapid. However, in the realm of knitting, I seldom witness them creating or attempting to modify existing patterns. Personally, I believe that knitting is more than just creating "sweaters." It is a material brimming with possibilities, a medium for sculpting, soft and gentle, yet capable of connecting everyone. It not only facilitates connections, as mentioned earlier, but also fosters social bonds among fellow knitters. I've learned a plethora of techniques from them, and reciprocally, they have begun to break free from conventional decoration in their clothing, as exemplified by a recent incident when a friend added knitted ruffles to the hem of a tank top she had already finished knitting, transforming it into a one-of-a-kind design.
Your series "Serendipity Vicissitude" is inspired by Van Gogh's paintings. Can you elaborate on the connection you feel with Van Gogh’s work and how you translated the emotional depth and texture of his paintings into the medium of knitting?
​
My profound love for Vincent van Gogh is the driving force behind my artistic endeavors. I often find parallels between his journey and mine – both marked by emotional struggles, internalization, and a quest for self-enlightenment. It feels like we both explore the possibilities of expressing our work through various textures. More often than not, our creations blend the pain we feel for the world with our admiration for light, resulting in a fusion of emotions. This is why I feel compelled to do something in his memory, ensuring that his tumultuous life is remembered and that my own emotions during this period are visually represented with depth and texture.
​
​
As a designer and an impactful fashion blogger with millions of followers, can you talk about the challenges and rewards of writing and managing multiple fashion blogs?
​
​
​
Oh, wow. My intuition tells me that words are not to be taken for granted, and even intuition can be challenging to express. Occasionally, when celebrities endorse specific brands, it leads to dramatic reactions from certain brands, creating a dilemma between building connections in the industry and maintaining objectivity and authenticity for fans. Nonetheless, I did manage to make many friends – my partner, Xiyue, is a blogger I used to collaborate with.
​
​
​
Can you share a particularly memorable project or collaboration that significantly impacted your career?
​
Yes, especially in the two years since the epidemic began, when I was introduced to functional clothing. The collaboration that transformed my perspective on the value of life was with a small, family-owned brand called Precious Image Creation. My previous understanding of mom-and-baby products had been rather superficial, characterized as "cute, soft, and full of love." However, the stark reality of high illness and mortality rates among new mothers and newborns left me profoundly shaken. Designing swaddling blankets for this brand marked the first time I grappled with the principles of ergonomics in design, resembling industrial design in many ways. It was a transformative experience that ignited a sense of purpose and a deeper comprehension of life in my design work.
Looking forward, what are some aspirations or goals you have for your career in fashion and art?
​
​
I wish that humans would dance more, cultivate a deeper love for our planet, reduce their reliance on plastic, and express themselves freely, instead of being overly fixated on fashion. You yourself, my dear, are fashion itself.
​
​
