HEADER IMAGE Alicia photographed by Ahura Mazda
There is something inherently joyful about Clara Chu’s colourful accessories. The London-based multidisciplinary artist and designer conveys her humour through her handbag’s juxtaposing textiles and materials, incorporating handcrafting design processes with highly-recognisable domestic objects such as CDs, biscuit tins and toothbrushes.
“It’s like playing with Lego, Pac-Man and Tetris at the same time,” Chu reveals. “I love seeing people’s confused, surprised, and happy faces when they recognise the familiar objects in my bags or try to figure them out. Someone said some of the bags look almost edible, like some kind of fun confusion.”
Born in Hong Kong, the 29-year-old designer’s exploration of upcycling and unconventional materials blurs the boundaries between ‘high’ and ‘low’ forms of culture, resulting in vibrant handbags that feel equal parts nostalgic and totally innovative. Throughout her designs, workshops and installations, Chu is changing perceptions of domestic waste, inviting us to reconsider the materials we value and the objects we surround ourselves with.
Since graduating from the Royal College of Art in 2019, her work has been seen in publications including The Face, Lifestyle Asia, Dazed and Vogue Italia, and she’s worked with organisations including the V&A Museum, All Birds and Somerset House.
Below, Chu tells us more about her process collaborating with clients, uncovering her unconventional materials’ hidden histories, and educating the next generation of creatives.
How would you describe your aesthetic in your own words?
I like to think my designs are playful, funky, colourful, bold, quirky, collaborative, and just a bit strange.
What’s one piece you’ve made that you feel summarises your label, and why?
I feel most of my custom-made pieces really capture the essence of my label. The whole bespoke process – from the initial consultation, to listening to what the client wants, to letting them contribute their own discarded materials or choose from our archive—is at the heart of what I do. It’s a co-design model where we create a unique product together, and the relationship built during this process is heavily reflected in the final piece.
But if I had to pick one, I’d choose a recent bespoke bag that I absolutely loved creating. The client gave me a lot of freedom with the materials, colours, and design, which made the experience even more enjoyable. They picked a pink hot water bottle, a blood orange cleaning glove, and some electric spongey cord. I combined these with some off-cut leather finishing and a sporty-looking zip. The mix of slick plastic, rubber, and sponge with leather really represents the materials my brand loves to use. Plus, these materials are easy to clean, which makes it even more practical and long-lasting.
The process itself was special to me because it involved a lot of back-and-forth feedback sessions and consultations. The client had a say in every step, learning about the materials and the production process. This co-design approach ensures they know exactly what goes into the product and what they are ‘consuming’. This bag would perfectly summarise my label in terms of the production process, ethos, colours, materials, and most importantly, the relationships with each bespoke-made-to-order client.
I incorporate all kinds of household items into my designs – from old electronics and toiletries to cleaning products and home textiles like curtains and carpets. It’s all about seeing the potential in these everyday objects and transforming them into something unique and fashionable.
What first drew your interest in using mundane, everyday materials in your designs?
My interest in using everyday materials started during my first year of MA at the Royal College of Art. I was diving into the world of food packaging and transportation, looking at everything from historical tools to modern takeaway containers. My favourite find was the Tupperware container. I studied its history, manufacturing, and diverse designs and decided to redesign a lunch bag with it. This led me to create a handbag collection using different kitchen utensils like chocolate moulds, silicone mats, and water bottle lids.
Over time, this fascination just grew into an obsession. Now I incorporate all kinds of household items into my designs – from old electronics and toiletries to cleaning products and home textiles like curtains and carpets. It’s all about seeing the potential in these everyday objects and transforming them into something unique and fashionable.
Can you describe your design process? How has working with found materials influenced your creative process?
I love working with found materials and exploring their backstories. There’s something fascinating about uncovering little clues about who owned an object, how it was used, and its history. For example, I recently made some ‘Photo Slider Bags’ using vintage photo slides, and it was amazing to see handwritten notes like ‘dad on the beach, 1977’. These slides had everything from wedding photos to cat pictures, and even classic car shows from the 60s. Going through them was such a fun part of the creative process, and it really added value to the final product.
Working with found materials made me appreciate flaws and wear and tear. I like to highlight these imperfections within clean designs, showcasing the history and character of each item. I also make it a point to be transparent about where I find these objects and who donated them. I’m grateful for my supportive social media community, especially those who donated their unwanted household materials. Their support continuously inspires my creative process and honestly just reinforced the importance of designing with good intentions and personal connections.
I had to learn how to do my own PR and push past the fear of judgment.
What barriers or challenges, if any, have you experienced in accessing the industry?
There has been lots of challenges! Getting your work out there takes a lot of willpower, and promoting yourself and your brand isn’t easy. When I started the brand in 2022, I had a traditional fashion design degree but no training on how to be a business owner. Fashion schools, at least back around 2015, didn’t teach us how to run a business. I found myself juggling roles as creative director, designer, social media manager, PR person, pattern cutter, seamstress, and finance planner. The list can go on… all with little investment in the beginning.
One big challenge was feeling like I wasn’t doing enough, especially with all the pressure from social media. I had to learn how to do my own PR and push past the fear of judgment. Sometimes taking a step back really helped, allowing myself an admin day or just reading about other non-design-related stuff. Trusting the process and being okay with the journey was so important.
Finding the right stockists who share my vision has also been a challenge. Although I’ve worked with amazing stockists in the past and have some exciting partnerships coming up, it’s hard to conform to a system that requires regular collection drops. I much prefer a made-to-order approach, working with individual clients to craft their vision through a co-design model.
What changes would you like to see, if any, in the fashion industry right now, and how is your brand contributing to this?
I’d love to see less gatekeeping and more spaces for sharing skills. We need more inclusive platforms that showcase a diverse range of fashion, especially celebrating brands owned by underrepresented communities. It’s important to welcome young people and the next generation of creatives, showing them that fashion isn’t exclusive and everyone is invited to create and feel supported.
I’ve been sharing my repurposing and up-cycling techniques through collaborations with youth centres, charity organisations, institutions, and event partnerships with other brands. It’s been incredibly fulfilling to advocate for designing with better intentions and supporting the repurposing fashion movement, challenging the industry’s impact on our climate crisis and ethics within our supply chains, production, and consumption. I believe educating the next generation is a key part of this process.
What’s the best and worst advice you’ve ever been given about fashion or design?
The best advice I got was to reach out for collaborations and partnerships. It might sound a bit cliché, but it really worked for me. When I started my brand, I was constantly emailing people I admired and those whose work I loved. My mentor encouraged me to put myself out there and connect with big brands and organisations. Even if you don’t get a response, it’s worth trying. I also got advice to organise my own shoots and promotional videos with help from friends. Sometimes, DIY stuff can be the best way to start, and I really love creating content that feels down-to-earth and approachable.
I don’t really believe in “worst” advice – I think all advice can be useful in different ways, depending on where you are in your career. Some advice might be great for one person but not the right fit for you at a particular time. I’ve definitely jumped on advice that seemed brilliant at the moment but wasn’t the right move for my brand at that stage. I get excited about new ideas and often dive in without thinking if it’s the right time, so I feel it’s important to evaluate if it aligns with where you are and what your brand needs at that moment.
It’s been incredibly fulfilling to advocate for designing with better intentions and supporting the repurposing fashion movement, challenging the industry’s impact on our climate crisis and ethics within our supply chains, production, and consumption.
What song/album/artist/podcast are you blasting on repeat while you’re working in your studio/space?
Honestly, a bit of a mix! I’m switching between podcasts – The Receipts, Stuff You Should Know, and No Tags. For music, I bounce between the album Spirits Rejoice for some Free Jazz, to Ashnikko, to techno and Goa trance.
What’s your weirdest or wildest fashion obsession right now?
I’ve been loving dressing minimal and heavily accessorising, like minimum 5 small bags at once with extra loaded hairdresser clips and gem stickers on random areas of the body. Melanie Bonajo’s ‘Furniture Bondage’ project has always been a big inspiration for me, so I’m into finding the weirdest stuff and wearing it in the most creative and unexpected ways.
What fictional character would LOVE your label?
Character ‘She’ from the film RITUAL (2000) by HIDEAKI ANNO
And who IRL would you love to see wearing your designs?
Greentea Peng
What are your plans for the future?
I’m generally just excited to keep growing the brand and doing what I love – designing and creating. I plan to expand the team and continue sharing my skills through workshops, events, and educational opportunities. I’ve also got some exciting collaborations lined up with creatives outside the fashion world, like music and tech – I can’t wait to share them!
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