Kwok’s vision is so meticulous that his pieces are often mistaken for 3D renderings (until recently, this writer wasn’t above such a misconception). Like the veritable metal bender he is, Kwok creates magnificent metallic structures – of dragons, snakes and mythical creatures, doubling down on his signature motifs and reinventing them beyond recognition. Joyce Carol Oates is too stunned to speak surely. “She lives hundreds of meters underground in the wet and dark with her robotic dragon friend, it’s because the Earth has become so toxic it barely resembles home,” Kwok says. Lala, the heroine of his Chapter 3 – Louder, is another. “I’m bored with very futuristic things,”he says, “Why not clash an old myth and the future world?” Why not, indeed? Instead of praying to one muse, he imagines colourful characters and creates stories around them. Kwok’s worlds are immersive and frightening, yet confoundingly enticing and even inviting. And never one-dimensional. Looks from Kay Kwok’s Chapter 2 collection These forms are not merely formulaic interpretations of extra-terrestrial life,but rather, well-informed artworks that recall 16th-century deities, like Daji – the malevolent fox spirit that first appeared in Tang dynasty folklore.

Those were the exquisite metallic bikinis on twinks, who donned metallic zibellinos made not out of sable but, presumably, Ridley Scott’s Alien carcass, bra tops that coiled around the models like Dicepticonian snakes and no less delicious prints.

Kwok’s Chapter 1 – The Journey Begins collection for autumn/winter 2022 delved into similar concepts to those of many classic science fiction pieces: what will become of those who stay behind on Earth when the majority embark on a galactic journey? The idea, he says, was inspired by the biggest futurists of this generation, such as Yusaku Maezawa and Elon Musk. Kwok created digital avatars, an ominous yet cinematic mise-en-scene, a plethora of genderless looks and prints mimicking chromium-coated metal that would later evolve into his signature metallic structural pieces the latter tenet truly ripened, however, when Kwok unveiled Chapter 2 –Deify. His triumphant return made for a glorious sight, with the new KWK by Kay Kwok line and an abundance of revolutionary concepts. “I wanted to explore different insights under the ‘fashion’ umbrella,” he says, “I was working with artists as their concert costume director, the style director for commercial ads and a columnist for Elle Men magazine. However, the more time I spent in those industries, the more I wanted to have my stage to express my creativity.” look from Kay Kwok’s Chapter 2 collection

“I’ve been through a lot,” Kwok says of his hiatus. Shortly after, Kwok disappeared from the London fashion scene to work with singer Muse and other artists including Aaron Kwok and Karen Mok while running his fashion label on a smaller scale in Hong Kong and China.

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