Wu’s collection, sparked by the discovery that China produced around 17 billion tonnes of mismanaged plastic in 2010, estimated to reach about 37 billion tonnes in 2025 focused on collecting abandoned objects. She combined them into one visual language, developing new worlds for the irrelevant objects as elements for fashion jewellery.
Bold colours and patterns adopted from nineteen seventies furniture and interior design helps target urban consumers with strong visual fashion appetites.
The material culture is enriched through the concept of Kinstugi, of using lacquer and gold powder to repair ceramics and enhance the beauty of the mend. Here polished brass and plastic lacquers offer an aesthetic that fits everyday urban lifestyles and keeps price points low.