His collections, sharp and mischievous, treat pop culture as raw material, dismantling and reassembling its icons with a knowing wink. His recent explorations of Sex and the City characters are a case in point—less an homage than a reprogramming, filtering their personas through a modern lens that questions, rather than simply celebrates, traditional femininity.
Yet, even as his name reverberates from red carpets to runways, craftsmanship and style remain the quiet protagonists of Gong’s work. His studio collaborates with artisans and embraces emerging technologies—not as gimmicks but as tools to challenge fashion’s material possibilities. With a foundation rooted in both the US and China, Mark Gong is rewriting the script of modern Chinese fashion, fusing irreverence with precision, industry with artistry, and, above all, proving that the industry future isn’t about where you’re from—it’s about where you’re going.
"NOT INNOCENT"
They were the obsession, the scandal, the headline. Hollywood’s golden girls turned tabloid firestorms—hounded, idolized, written off, only to rewrite themselves. There’s something hypnotic about that transformation, about the way they took the world's judgment and turned it into their own mythology.
Lindsay. Paris. Kim. Once dismissed as cautionary tales, now architects of their own empires. They played the part, took the fall, and then rose again—smarter, stronger, wholly in control. If reinvention is an art, they perfected it.
I’ve always been drawn to that push and pull—glamour and chaos, excess and reinvention, authenticity and performance. This season is about the women who learned how to wield the gaze, who turned being underestimated into an advantage. The ones who made a spectacle of themselves and then made it work for them.
So here’s to the girls who weren’t innocent—who never needed to be. Thank you, Paris, Lindsay, Kim. Thank you for the chaos, the style, the reinvention. But mostly, thank you for showing us that power is never given—it’s taken.
—MARK
