Who were the designers behind the couture pieces showcased at Virtuose: The Artistry of Couture 2025?
In its second edition, Hong Kong Fashion Fest doubled down on its goal to position Hong Kong as a global couture capital and a bridge between the Asian and Western world to confer on the topic of accessibility, sustainability, and craftsmanship. Held from 22 November to 7 December 2025, the schedule was packed with meticulously planned events, each held at a beloved fashion or design location in the city. This includes a celebration of denim artistry at Ocean Terminal Deck at the Harbour City shopping centre in Tsim Sha Tsui; “Play, Pose & Pixel”, a collaborative digital fashion exhibition between the Fédération de la Haute Couture et de la Mode and the Hong Kong Design Centre, curated by FabriX World; and “Fashion to Reconnect: A Tale of Two Style Capitals”, a cultural exchange project organised with Fondazione Pistoletto Cittadellarte, in partnership with Camera Nazionale della Moda Italiana.
One of the highlights was the hotly anticipated return of Virtuose: The Artistry of Couture 2025. Organised by the Hong Kong Fashion Designers Association and funded by the Cultural and Creative Industries Development Agency under the Culture, Sports and Tourism Bureau, this year’s edition highlights four international couturiers: Peet Dullaert from France, Tomo Koizumi from Japan, Zhaoyi Yu from Chinese Mainland, and Caroline Hú from Hong Kong, China. Central Ferry Pier 4 at Victoria Harbour was transformed into a stage for the designers to showcase their couture creations against the iconic Hong Kong skyline. Attended by the biggest stars from Hong Kong and around the world, the fashion show was a resounding success.
BAZAAR caught up with the four fashion designers after the show to find out more about their collections and their involvement with this exciting fashion event.
Caroline Hú
Shortlisted for the 2019 LVMH Young Designer Awards, Caroline Hú brings her romantic vision to life with a series of techniques, from smocking and crocheting to intricate embroidery. A graduate of Central Saint Martins in London and Parsons School of Design in New York, Hú’s technical prowess, attention to detail and dedication to craftsmanship is the foundation of her brand, Reverie by Caroline Hú. Her message resonates with women around the world: there is a freedom in femininity; and traditionally feminine visual and design elements have a place in the future of fashion.
As with all her creations, Hú’s latest collection is deeply rooted in her own personal experiences. Knots and bows hold swathes of fabric around the body; thorny roses are affixed under sheer layers; the models, with messy hair, move through the show as if in a foggy daydream. “There is a lot of volume in this collection. It comes from a place of isolation and sadness, so I wanted build something to feel safe in. My father dabbled in painting a long time ago, so the prints on the organza covering many of the shapes are hand-painted,” she says.
She also showcases the ballerina-inspired shoe designs with large bows, created exclusively for Adidas. It features Hú expresses a desire to continue expanding her repertoire: “I always want to try different [techniques], but it has to correlate with the feeling or story that I am trying to portray.”
Tomo Koizumi
There is no looking away from Tomo Koizumi’s colourful creations with billowing, oversized proportions. “I’ve always wanted to make big gowns. It has been my dream since I was very young, because there are not many occasions in Japan to dress up. All-black ensembles are boring to me; I want to push myself to make colourful dresses everyday,” says the Japanese designer.
Tomo Koizumi
His showcase at Virtuouse was a bridal collection, but he insists that it doesn’t have to be. “I styled the collection with tulle veils over the face to emulate a wedding. However, if you look closely, the hats are actually puffy tops; you can also wear it as a skirt,” he explains.
But any “strong and fearless” woman who wants to push the boundaries is welcome to wear his colourful dresses. And he notes with delight that there is a market in Asia for his uniquely striking aesthetic and joyful approach to fashion.
Zhaoyi Yu
“Tableau”, Chinese designer Zhaoyi Yu’s second couture collection, shimmered on the runway. An ode to the natural world, he presents intricate looks crafted from specially selected materials to portray the different way light travels through space. A standout piece is a mother-of-pearl inlay corset, cut so delicately thin to allow light to shine through without losing its shine. It’s paired with a skirt embedded with Swarovski crystals. “My grandmother had a collection of pearl jewellery and accessories that I admired since I was a teen. I always found it so beautiful how they reflected different colours of light. That’s something I kept in the back of my mind all this time,” says Yu.
He adds: “I am fascinated with the idea of making materials that are seen as hard or difficult, like wood or pearl, more wearable. I want to find the softness in them.”
On his eponymous brand’s bright future, he shares his desire to stay in couture “for a long time” while expanding his creativity into new avenues, such as footwear, furniture, or fragrances. It’s an artistic desire, he insists, one that subsists on his commercial efforts–and not the other way around.
Peet Dullaert
Peet Dullaert
With more than a decade of experience under his belt, this award-winning French fashion designer cut his teeth at Lanvin under creative director Alber Elvaz and paved the way for bigger conversations on innovation, inclusivity and sustainability in the couture space. Peet Dullaert’s Fall/Winter 2025 collection is all about “modern living”. He reveals that he observed his own circle of friends, from how they hold their phone or drape their jackets over their shoulders to the way they walk.
“I don’t start with a moodboard. I work out how we’re going to cut a fabric and see the shape and flow originating from that. For this collection, it was about enabling fluid motion to facilitate these everyday movements,” he says.
Dullaert reflects on his approach to fashion: “Angelica Cheung (one of Asia’s most respected fashion journalists) was the person who put me on the map; she wrote about my graduation collection and it launched my career. The Asian market is part of our DNA as a brand. It’s good to show in the traditional places, such as Paris, London or Milan, but it has been heartening to see more people agree that fashion is a universal language.”
