New York Fashion Week delivered a quiet surprise this past Sunday with the runway debut of Lii, the brainchild of 25-year-old designer Zane Li. The showing, a late addition to the CFDA calendar, signaled a potential arrival of a fresh voice in American fashion, one that’s already drawing comparisons to designers like Henry Zankov and Colleen Allen.
Li’s journey is as peripatetic as the inspiration behind his Fall 2026 collection. Born in Chongqing, China, and currently based in New York with a studio in Chinatown, he frequently travels to Paris to present his menswear. However, the realities of the American market are proving challenging for the fledgling brand. “sell clothes here,” Li stated plainly before the show, acknowledging the limited buyer presence in New York.
Despite the logistical hurdles, Li’s constant movement – “constantly in transportation…especially in cars” – has become a central theme in his work. He described a feeling of “urban isolation” that permeates his creative process. This sense of detachment found an unexpected muse in a rather unsettling source: Scarlett Johansson’s character in the sci-fi horror film “Under the Skin.”
The film, about an alien disguised as a woman who preys on men, resonated with Li’s exploration of identity and concealment. He wasn’t drawn to the horror elements, but rather to the character’s inherent duplicity. “She’s hiding something and I think that’s what I’m always attracted to,” Li explained, suggesting a fascination with surfaces and the secrets they conceal.
The collection itself opened with a black track jacket, subtly unzipped to reveal a flash of red at the collar – a hint of the hidden beneath the surface. This was followed by white and navy iterations, paired with miniskirts featuring extended waistlines and bold color-blocking in shades of chartreuse, Martian green, and teal. The looks were grounded by custom Nike Air-Forces, a strategic sponsorship that suggests Li understands the importance of accessibility and real-world wearability.
From there, the collection veered into more experimental territory. Faux fur lapels dramatically consumed the bodices of Mod-inspired jackets, while tabard tops were constructed from rectangular panels, creating sloping shoulder lines reminiscent of a nun’s habit – albeit a decidedly unconventional one. This exploration of shape and geometry is where Li’s talent truly shines.
Li’s approach to pattern-making is described as moving between two and three dimensions. He builds garments from flat fabrics, then manipulates them into forms that possess a striking sculptural quality. This was particularly evident in dress-cape hybrids constructed from four squares seamed together, with slits for the arms. While initially difficult to decipher on the design board, these pieces came alive on the runway, demonstrating the power of movement and the interplay of form and function.
What sets Li’s work apart is his ability to translate these abstract concepts into wearable, even desirable, clothing. He avoids the trap of simply chasing “minimalism” for its own sake, instead embracing a disciplined approach to shape and silhouette. As he succinctly put it, his process is a constant cycle: “Reality, abstract, reality.” The result is a collection that feels both futuristic and grounded, alien yet undeniably relevant to the urban landscape.
The LVMH Prize semifinalist’s work is a compelling example of how personal experience and unexpected inspiration can converge to create something truly original. While the challenges of establishing a brand in the current fashion climate are significant, Zane Li’s debut suggests he’s a designer to watch – one who is not afraid to push boundaries and explore the complex relationship between identity, concealment, and the spaces we inhabit.
