NYFW came and went this year, and pretty quickly, too. I had the chance to view Fashion Institute of Technology’s MFA New York Fashion Week Show. One of the lines that spoke to me was the avant-garde styles of Layla Dian Jin. As an FIT student, her line, Pale Blue Dot, captivated the runway with a futuristic look.
Jin grew up in China but made the leap to New York City to continue her fashion dreams and journey. Her vision only grew with Pale Blue Dot as the designs are experimental and unconventional to say the least. Jin continues to be innovative and break new ground, not only with the materials she uses, but with her fearless attitude.
I talked to Jin about her Pale Blue Dot fashion line, how her heritage and culture shines through her work, and what is next for her.
Tell me about yourself. What brought you to New York City and the Fashion Institute of Technology?
I grew up in China, where I first studied Art Marketing as my undergraduate degree, which gave me a strong foundation in aesthetics, history, and the business of creative industries. Later, I realized I wanted to channel that knowledge into creating rather than curating, which led me to pursue fashion design. New York felt like the natural next step because it is a global center of fashion, culture, and experimentation. FIT’s MFA program offered exactly what I was looking for, a balance of conceptual exploration and technical precision. Another important reason I chose FIT is that I deeply admire Daniel Roseberry, who is also an alumnus. His work at Schiaparelli showed me how daring creativity can merge with refined craftsmanship, and that vision resonated strongly with me.
Your line, Pale Blue Dot, is very cutting edge and fashion forward. Where did you get the inspiration for it?
The inspiration comes from Carl Sagan’s reflection on the Pale Blue Dot photograph. From that distant cosmic perspective, humanity appears both fragile and resilient, and that duality moved me deeply. My collection transforms this idea into design language by referencing space debris, zero gravity forms, and modular structures. I also drew from my own fascination with science fiction, cosmology, and the idea of sustainability in the space age. The result is a dialogue between vulnerability and strength, destruction and beauty, where clothing becomes both a reminder of our fragility and a vision of resilience.
How does your heritage show up in your work?
My Chinese heritage shows up most strongly in the way I think about human connection. I am inspired by the ancient philosophy of “Tianxia Datong,” which envisions a world of great unity where all people are connected and live in harmony. This idea resonates with the theme of my collection, because when viewed from the cosmic perspective of the Pale Blue Dot, national borders and divisions disappear, and humanity appears as one. I express this through modular structures that can be taken apart and reassembled, symbolizing interdependence, and through hand-knotted and woven details that evoke threads binding people together. For me, design is not only about craft, but also about weaving a vision of shared humanity.
Where do you outsource your fabrics from?
I source fabrics from both New York and China. In New York, I work with specialty shops that carry deadstock and experimental textiles, which supports sustainability and gives me the chance to explore unique materials. I also import some of my silk fabrics directly from China, where the craftsmanship and quality of silk are exceptional, and the costs are more manageable. Beyond these traditional textiles, I create my own sculptural materials, such as hand-knotted mohair, clay covered in gold foil, and wire structures. These elements allow me to expand the language of fashion beyond fabric, transforming garments into something that exists between clothing and sculpture.
Who are your fashion icons?
Daniel Roseberry is my biggest fashion icon. His work at Schiaparelli inspires me because it shows how bold imagination can coexist with refined craftsmanship. I admire the way he redefined couture for the modern era, creating pieces that feel both surreal and wearable. His ability to merge art, symbolism, and technical mastery pushes me to think about fashion not just as clothing but as a form of storytelling and cultural expression. What I find most moving is how his designs carry a sense of audacity while remaining deeply human, which is something I also hope to achieve in my own work.
What do you think the future of fashion holds?
I believe the future of fashion will focus on adaptability, sustainability, and emotional depth. On a practical level, this means creating modular and transformative designs that minimize waste and extend the life of garments. I also see technology playing a bigger role, from AI-assisted design to digital fashion experiences, but I think the most important aspect is keeping fashion human. Clothes should carry meaning, tell stories, and connect people. In my view, the future of fashion will not only be about innovation, but also about responsibility and empathy.
What is next for you?
My next step is to gain more professional experience in New York’s fashion industry. I want to work closely with design teams, learn from the city’s fast-paced environment, and deepen my technical and creative skills. After building this foundation, my long term goal is to establish my own brand, where I can fully express my vision by combining avant-garde creativity with wearability and sustainability.
