The Art Of Zero Waste Couture | An Interview with Haixi Ren
Haixi Ren is the newest designer to take Haute Couture by storm. Her work has drawn the likes of many notable celebrities like Kendall and Kylie Jenner, Megan Fox, Becky G and more, the crux of Ren’s work is to create a more sustainable future for the fashion industry. We had the chance to speak to Haixi Ren about her work, inspirations and future goals.
Since the launch of her brand REN HAIXI in 2020, the Chinese-born, New York-based designer Haixi Ren has risen to prominence in the world of Haute Couture. You will have seen her work gracing the pages of Vogue, Sports Illustrated or being donned by celebrities on the red carpet. Most notably, Ren was the designer behind the viral lavender dresses worn by sisters Kendall and Kylie Jenner, as well as the sheer black top worn by Billie Ellish in her No.2 Perfume commercial.
There is an ethereal other-worldly allure to her designs, one that elevates her designs from garments to pieces of art. The blend of soft pastel colors and wooly textures almost resemble delicate strokes of paint on a canvas, creating what Ren dubs her “painterly aesthetic”. Her most recent FW24 collection is a perfect representation of Ren’s signature aesthetic, featuring delicate layers of fabric molded onto the model’s body.
However, at the heart of Ren’s work is not just the design excellence, or her skillful use of silhouettes, texture and color, but an unwavering commitment to sustainability. A fashion designer who prioritizes creation rather than production, Ren has revolutionized traditional dress-making techniques to come up with a practice that produces literally no waste.
We recently had the pleasure of interviewing Ren on her journey as designer so far, the importance of zero waste design and her future aspiration.
Can you tell us a little bit about your design journey so far. What influenced you to tackle the textile waste problem in your work?
I started REN HAIXI in 2020 to offer an alternative garment creation process using zero-waste design and development strategies. While working as a designer at major fashion houses in New York City, I became increasingly frustrated with the pervasive textile waste problem. Through relentless research and contemplation, I discovered that the fundamental flaws lie within the global fashion supply chain. Most brands adhere to a system that inevitably results in waste. Specifically, traditional cut-and-sew methods produce fabric scraps as a byproduct. Multiple samples, including muslin, prototypes, showroom samples, and TOP samples, are created before a style goes into production, with many of these samples and canceled styles ultimately ending up in landfills. Additionally, there are minimum order requirements for raw materials, forcing brands to order more than needed to qualify for wholesale prices. Factories also have minimum production requirements, leading to unsold garments that create financial burdens and significant waste.
Driven by a strong determination to solve these systemic problems, I founded REN HAIXI. My mission is not only to create beautiful products but also to provide a sustainable business model. Growing up in China, I learned to cherish and be grateful for the materials we have, a virtue deeply rooted in my Asian heritage. Finding beauty in discarded materials is poetic to me, and I challenge myself to create wonders using “waste.” My strong belief in fundamentally changing the garment creation process and its supply chain motivated me to start my own business. Ultimately, I am fighting for a more sustainable future for our beloved fashion industry.
What do you believe are the biggest obstacles to wider adoption of zero-waste practices in mainstream fashion?
My commitment to zero waste practices presents unique obstacles, particularly when it comes to scaling up my operations. Much of my work is done in-house to maintain the integrity of these sustainable practices, which can be labor-intensive and time-consuming. Balancing the demand for growth with the principles of sustainability requires constant innovation and dedication. Despite these hurdles, the positive impact and support I receive reinforce my commitment to this path, making every struggle worthwhile.
“Finding beauty in discarded materials is poetic to me, and I challenge myself to create wonders using “waste.”
Ultimately, I am fighting for a more sustainable future for our beloved fashion industry.”
Can you describe a particularly challenging project where you had to rethink traditional fashion practices to achieve zero waste?
My SS24 collection held a special place in my heart because I challenged myself to use materials that were out of my comfort zone to create more relaxed silhouettes. I was naturally drawn to lighter materials such as lace, tulle, silk, so for SS24 I wanted to use wool, and menswear inspired textile to create. It was challenging to achieve zero waste using heavier materials due to my signature textile making technique that can only be used in lighter materials. Therefore after months of experimenting with plaid wool, I invented a painterly wool technique which turned out to be very popular among music artists.
You have stated that your approach to sustainability in your design is to use the human body as a “mold” . Could you outline your design process from concept to final product?
I have pioneered a unique made-to-measure business model and developed zero-waste textile engineering techniques to transform discarded fabric scraps into couture pieces. Inspired by abstract expressionism, I view fashion as a form of artistic expression, with the human body as a three-dimensional canvas. I have created a signature textile that can be “painted” onto the body, using a distinctive embroidery technique that sculpts the material into sensual and intellectual silhouettes, empowering self-expression.
You also have an interest in art history. Are there specific artists or art movements that inspire you?
I have always been inspired by Joan Mitchell, my textile is highly influenced by abstract expressionism. I regard the garment making process the same as sculpting.
Can you share a particularly rewarding collection or project and why was it significant for you?
I started creating knitwear when I got into parson for my MFA degree. My SS23 collection is my very first knitwear collection created in dubied knitting machine. It was very rewarding to learn new skills and create beautiful garments using new techniques.
“There is no shortcut in fashion. The only way to achieve success is to keep designing and producing enough work, so you can select your best work and build an identity from it.”
You have frequently stated that the fashion industry must focus on creating, not producing. What do you think has made the industry so production-centric?
Traditional wholesale business model requires significant SKU counts, a brand needs to create enough products for buyers to select from and create a story on the retail floor. Once a style goes into production, most factories have a minimum, which is a lot for designers especially the ones who are just starting. Lot of garments go into waste without ever hitting the retail floor.
I was particularly fascinated by your SS21 and Capsule collections. Some pieces felt reminiscent of features in nature, such as beds of moss or fields of flowers. Was this intentional? Do you aim to convey specific narratives or themes through each collection?
I aim to convey different ideas and concepts through each collection and yet still manage to stay true to REN HAIXI’s painterly aesthetic. I enjoy my research process, each collection is my reinterpretation of a movement or event happened in the arts. My SS21 collection took inspiration from the philosophies behind pure art, which was first proposed by Clement Greenburg. Similarly to how Greenburg understands a flat canvas, I regard the body as a space to reproduce, redesign, express and analyze an existing garment form. Therefore, I created new textiles, which can be “painted” on the body.
You have previously expressed an interest in branching out to interior design. Are there any elements from your fashion design —such as your unique use of textures and textiles— that you would like to further explore in interior design?
Yes, since my creation process is like sculpting, I believe it would be very interesting to create furniture, wall paper, carpets, and home decor using my textile. By adjusting the amount of embroidery I apply to my textile I can control its stiffness. It would be wonderful to have an array of soft sculpture and shaped furniture pieces with my unique painterly aesthetic.
You started your brand soon after graduating university in 2020 and since then have accomplished so many impressive feats. What advice would you give to young fashion designers looking to make their mark in the industry?
There is no shortcut in fashion. The only way to achieve success is to keep designing and producing enough work, so you can select your best work and build an identity from it. On the other hand, networking is truly valuable when you have something to offer in return, and it should never be viewed as a shortcut to success without putting in the hard work. In the fashion industry, which is inherently community-driven, it’s essential to start building your support system early and continually seek learning opportunities from those you admire
