Zoe Siu: Every Knot Tells a Story 繩實設計：蕭俞

English 英: Maggie Ho and Deirdre Kelly · Chinese 中: Maggie Ho
Photography: ZOEE & Pacific Place, Hong Kong, Kaming
As Featured in 2025 Fête Chinoise Design Annual

Zoe Siu’s hands glide over vibrant ropes, twisting them into intricate forms that elevate both a humble material and an ancient craft into bold contemporary statements. From sculptural jewellery to large-scale installations, her creations breathe new life into the ancient art of Chinese knotting. Based in Hong Kong, Siu has built a reputation for transforming tradition into bold contemporary statements, connecting centuries-old craftsmanship with modern design.

For Siu, 39, traditional knots are more than cultural artefacts—they are a way to express herself creatively while preserving their symbolic power. In Chinese culture, knots symbolize reunion, prosperity, and harmony. Designs like the double-coin knot — resembling two intertwined ancient coins — represent wealth and abundance, while the eternal knot embodies continuity and longevity with its seamless loops. Drawing on these meanings, Siu uses knotting as a medium to connect centuries-old craftsmanship with modern design. Her fascination with design began early in life. As a child growing up in Hong Kong, she developed an eye for colour and texture, often insisting on choosing her own outfits. But it wasn’t until much later that she discovered how deeply her creative instincts would connect with knotting.

「結」字由兩個部分組成： 「糸」代表絲線、「吉」寓意吉祥好事；兩者結合正好象徵團圓、穩固與和諧美好。中華文化中，繩結自古具有重要的實用與象徵意義。《易·繫辭》記載：「事大，大結其繩；事小，小結其繩。」在沒有文字的時代，人類以結繩記事。及後，繩結亦成為漢服獨有的美學工藝。

時至今日，現代人對於「福壽結」、「雙喜結」等手作工藝興趣不再。百折千迴，總有繼承者。香港首飾設計師、藝術家蕭俞（Zoe）以繩結為創作媒體，將傳統與當代設計融合，突破傳統框架。

Her exposure to unconventional ideas began during her secondary school years, when Siu was drawn to the design philosophy of Belgian fashion designer Martin Margiela. His deconstructionist approach — challenging norms and celebrating experimentation — left a lasting impression on her approach to design. This perspective deepened at the Hong Kong Polytechnic University’s fashion program, where she realized creativity was about ideas rather than technical perfection.

Graduating in 2007, Siu initially worked in the fast-paced fashion industry but soon grew disillusioned with its relentless pace and lack of soul. A factory visit in India revealed harsh working conditions that left her questioning her role in mass production. Seeking authenticity and a deeper connection to her work, she decided to leave the industry behind and pursue a more meaningful creative path.

Her turning point came while preparing for a fashion competition organized by the Hong Kong Trade Development Council. Searching for inspiration in library books, she stumbled upon survival knots — a concept that resonated deeply with her desire to create something tactile and meaningful without relying on machines. Though she didn’t win the competition, Siu found her calling in knotting.

從時裝設計到繩結

Zoe 自小便對時裝設計充滿想法，小小年紀已經堅持自己挑選衣著，對衣服的顏色、款式非常有主見，到了中學時期更開始迷上強調解構主義的比利時時裝大師 Martin Margiela 。「我沒有跟其他人一樣追捧 Prada、Louis Vuitton 等，真正的時裝原來好 amazing，充滿實驗性。」之後入讀香港理工大學時裝系，更令她對時裝有新理解。「我本來不擅長畫畫，經過一學期後，我發現原來畫畫不代表創意，最要緊的是有想法，我可以用拼貼、立體模型來表達自己的理念。」

畢業後，她曾經於 DKNY JEANS 及 LEVIS 牛仔褲品牌旗下工作。那些年的工作雖然自由寫意，但大量機械化的生產模式，令分工變得極細微，並沒有甚麼創意發揮可言。及後到訪印度工廠時，Zoe 驚見自己所效勞的時裝產業其實每日每刻都在勞役工人，漸漸萌生離意。

因為不甘侷限於沉悶的工作， Zoe 參加了由香港貿易發展局舉辦的時裝比賽。她在圖書館尋找靈感時，無意間找到一本求生繩結的書，一下子便迷上了這種無須工具，單純以雙手創作的傳統工藝。雖然輸掉比賽，卻令她贏了一條全新創作路向，以繩結作為創作媒介。

She immersed herself in learning traditional techniques but quickly began experimenting with new forms. “No one wants those tacky red knots with jade,” she says with a laugh. “I wanted something unique — something that truly spoke to me.” This quest led her to launch ZOEEBYZOE in 2011 — a sculptural brand of handmade accessories celebrating knot artistry.

As her artistry deepened and progressed, Siu gained international recognition for her innovative approach to knotting. She represented Hong Kong at prestigious events worldwide, including Brussels Design September in 2013, London Craft Week and AUTOR Jewellery Fair in Romania in 2017 and Athens Jewellery Week in 2019. In 2017, she collaborated with renowned American fashion icon Iris Apfel, designing an exclusive set of accessories for Apfel’s solo exhibition at the Hong Kong Landmark.

Siu’s work has since expanded beyond jewellery into large-scale installations that explore knotting’s architectural and spatial possibilities. Projects such as Out of Cocoon — a 2020 installation featuring giant cocoons crafted from metals, ceramics, and 3D printing — demonstrate her ability to reinterpret traditional craftsmanship through modern techniques. Her installations often bridge heritage and innovation, proving that traditional knotting can evolve into immersive experiences that captivate global audiences. 

拒絕傳統 型格繩結配飾

為了學習及研究編織不同繩結的構造， Zoe 大量閱讀相關書籍及網上教學，甚至工聯會舉辦的繩結興趣班也不放過。銳意打破傳統， Zoe 結合傳統手工藝細節及大膽時尚風格，實驗以不同素材如：金屬、白瓷及 3D 打印等製作頸飾、手鏈、耳環等首飾，充滿雕塑感。個人品牌「ZOEEBYZOE」色彩鮮艷，諧趣活潑的系列更曾被謝安琪、蔡卓妍等女星穿戴。

「早前有記者問我繩結在現今社會有何用處，我先讓他望望鞋子上的鞋帶；再叫他想想：每次車衣，下第一針前都必須要打一個結去鎖住線端，這不就是活生生的例子說明繩結的用途嗎？」

有別於傳統講求對稱工整的審美觀， Zoe 努力鑽研繩結的各樣可能。發展至今，她的作品不只侷限於時裝配飾，創作更昇華至裝置藝術，於「布魯塞爾設計九月」藝術節、倫敦工藝週、羅馬尼亞 AUTOR 珠寶展、希臘雅典珠寶週等多個國際大展中展出。今年農曆新年，Zoe 被香港太古廣場委約創作大型裝置：多角形的外框參考了明朝唐朝的宮燈造型，高達九米高，精選特別質地造出八種不同的繩結，包括代表好運八方的「八字結」、造型似兩枚錢幣合隴而成的中式「雙錢結」、以及中東的 macramé，繩結以重覆針步編出一整塊織物，用於保護駱駝免受蚊針。

Her Lunar New Year installation at Pacific Place Mall earlier this year exemplifies this approach. Inspired by Tang Dynasty palace lanterns, the nine-metre-tall centrepiece combines eight types of knots—including the Knot of Infinity (symbolizing fortune) and the Two Coins Knot (representing abundance)—with macramé patterns and survival knots. The installation took 300 hours to complete and showcases how traditional techniques can be reimagined on a monumental scale.

“Beyond installations, Siu continues to push the boundaries of knotting through other media. Her Rope Fossil ceramic series explores the idea of knotted ropes transformed into fossils, a process that involves firing and soaking twisted porcelain. While the technique often results in cracks and imperfections, Siu embraces these flaws as integral to the creative journey. In another project, The Lingering Scent of Home, she incorporates various knotting techniques into rattan structures designed to disperse fragrance. This delicate process requires precise steaming to bend natural rattan without breaking it, showcasing her meticulous approach to craftsmanship.”

「我不喜歡只用 PINTEREST 選取參考，宮燈與繩結同為中國非物資文化遺產，兩者結合，和諧又極富意義。」 Zoe 連同四位「織女」前後足足花三百小時完成，百分百人手編製。憑藉藝術家的創意與想像，繩結不再只是女紅手作，更可以結合傳統工藝與當代藝術創意。

繩結除了美觀用途，自古以來一直盛載着各式各樣的民族文化。從中國古代以繩結記事、印加民族以繩結作為人口普查的方法、童軍常用的救生繩結、日本人用於裝飾信封的「水引」⋯⋯創作至今已十數年，Zoe 依然初心不改，無間斷地追求新點子、新構思，現正修讀人類學碩士課程，期望透過學習，為創作注入新視野。

Now pursuing a master’s degree in anthropology at The Chinese University of Hong Kong, Siu studies how knots carry symbolic meaning across cultures—from Chinese ruyi (happiness knots) to Incan quipu used for census records or Japanese mizuhiki adorning envelopes. “Studying these contexts adds layers to my creative process,” she says. 

Passionate about sharing her knowledge, Siu leads workshops for schools and communities but humbly avoids calling herself a master. “It’s not just about technique — it’s about sharing experiences.” Looking ahead, she plans to establish a mini creative studio outside Hong Kong where she can focus on research-based exhibitions that further explore knotting traditions and their cultural significance.

“I want to show that life has many possibilities,” she says. “There are always ways to unknot and resolve.”

開解青少年心結

另外， Zoe 亦有在社區和學校舉辦工作坊。「我自問不是要做一個繩結大師，不能憑肉眼一眼看出繩結是怎樣編成的。現在的青少年很容易可以在網上找到大量教學材料自行學習，我側重引導他們思考怎樣可樣以新方法呈現傳統技術，不是為了教學，也希望與他們生命交流，互動分享。」

人生如繩，每每充滿曲折堆疊，如何能屈能伸，如何鬆開糾結，廣結善緣閒趣，也是值得終身修煉的課題。

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