From February 25 to 28, 2025, New York–based jewelry brand Villus Studio held its inaugural presentation in Aoyama, Tokyo—one of the most dynamic districts in Japan’s fashion scene. Hosted as a private showroom at None Atelier, the event marked a significant milestone for the Asian-owned brand, offering an intimate setting to engage with industry insiders, tastemakers, and buyers from leading Japanese boutiques including GR8, CARV, Prank, and Prank Project.
The showcase featured Villus’s debut series, “Modern Relics”, a collection that reimagines historical symbols of protection—armor and weaponry—as contemporary wearable objects. Every piece is a study in contrasts: permanence and erosion, strength and vulnerability, refinement and decay. The designs exist in two material states: a polished sterling silver version that represents the present, and a textured, aged counterpart evoking a speculative future imagined through the lens of the past.
Behind Villus Studio is Zhuoran (Linda) Wang, a globally-minded designer whose practice bridges fashion, fine art, and philosophy. Born in China, educated in Canada, and now based in New York, Wang has built a reputation for her conceptual rigor and experimental techniques. She was named a finalist in the prestigious Balenciaga External Project, a collaboration with the Cristóbal Balenciaga Museum, underscoring her position among the most forward-thinking voices in contemporary design.
Wang’s approach to design is deeply narrative and materially rich. Her work—spanning knitwear, pattern-making, and accessory design—explores themes such as traditional Asian family dynamics, the materiality of time, and the philosophy of animism. These concepts are translated into tangible, wearable forms, turning each piece into an object of personal meaning and cultural resonance.
The Modern Relics collection embodies this philosophy through meticulous craftsmanship and intentional surface treatments. Drawing from techniques used in traditional lacquerware, each piece undergoes a layered hand-finishing process, where pigments are applied and removed to emulate the effects of oxidation and erosion. The resulting textures resemble ancient metal relics—natural, imperfect, and evocative—offering a tactile experience of beauty shaped by time.
Villus Studio’s Tokyo debut placed the brand alongside other globally recognized Asian innovators, including SCRY, a pioneering footwear lab focused on 3D-printed design, and Trinite Studio, a leading name in Chinese street fashion. Together, these brands represent a shared commitment to experimental design, cultural storytelling, and cross-border dialogue.
For Wang, the Tokyo launch is more than a market entry—it signals a broader vision. Later this year, she will open her first permanent showroom in Aoyama, establishing a physical anchor for Villus in Asia and continuing her mission to merge craftsmanship, concept, and cross-cultural aesthetics. In a country where the beauty of an object is measured not only by form but by its intention and narrative, Villus found an audience deeply attuned to its core values.
With a foundation rooted in heritage and a perspective oriented toward the future, Zhuoran Wang is charting a compelling new course for contemporary fashion and accessories. Through Villus Studio, she invites us to reconsider what we wear not just as adornment—but as story, artifact, and emotional armor.
