Ready-To-Wear pulls images of models from runway fashion shows and claims them as its own. While the first collection is taken from Louis Vuitton’s 2015 Monaco Cruise show, Ready-To-Wear represents a perpetually reproducible model for democratically designed couture. The entire line becomes wearable, and most importantly, affordable, though appropriation, digital printing and cheaply manufactured t-shirts. By placing a runway photo onto an item as ubiquitous as the cotton t-shirt, wearers gain ownership to exclusive designer clothing before it even hits the shelves, much like bootlegged designer products found in fake markets. The shirts pay homage to China’s world of counterfeit goods, or what is known in Chinese, as shanzhai^︎ culture.

^︎The term, shanzhai, connotes a positive outlook on copyright infringement as its etymology suggests a Robin Hood-esque story where items are taken and shared democratically. In the same vein, Ready-to-Wear brings high fashion to the masses, while also acknowledging the paradoxical world of mass-produced luxury. Both bootleg and promotional, the collection straddles the line between cheap Chinatown knock-offs and ironic, high-end advertising.