Vivian has been a longtime creative partner of Kinn, bringing her distinct eye and thoughtful approach to styling two of our most meaningful campaigns—our Unexpected bridal shoot and an editorial last year that explored the intimacy of heirlooms. We’ve always admired her ability to translate emotion through aesthetic, whether through the silhouettes she designs or the way she styles a look to feel quietly powerful. Her pieces—and her perspective—continue to shape the way we see beauty, self-expression, and modern femininity.
Q: For those who may not know you yet—who is Vivian Chan, and what do you do?
A: I’m a designer, a founder, a mother, a wife, a daughter, a sister, and an immigrant. Each role shapes how I see the world and how I design. I created VIVIANCHAN to celebrate women by designing pieces that uplift, empower, and help women feel confident, beautiful, and comfortable in their own skin.
Q: What does “non-traditional” and “unexpected” mean to you when it comes to bridal? And how do you bring that to life through your work?
A: To me, non-traditional means letting go of the script. It’s about being honest. It’s designing for the woman who doesn’t need a gown to make her feel like a bride; she already knows who she is. It’s less about what’s expected and more about what feels authentic.
Unexpected is the feeling that a piece was made just for her. It’s about subtle details that feel personal and thoughtful. It’s the kind of design that makes someone pause—not because it’s loud, but because it’s different in a way that feels true.
At VIVIANCHAN, I design with intuition. I see bridal as a continuation of who she’s always been. The pieces are personal, intentional, and quietly expressive.
Q: The brides you dress often gravitate toward pieces that feel more like them—unstructured, soft, emotionally driven. What draws you to designing for this type of woman?
A: I’m constantly inspired by women who lead with instinct. She isn’t trying to fit into a mold, she already knows who she is. There’s a strength in her softness, a clarity in how she expresses herself. She doesn’t need her dress to transform her; she wants it to reflect her.
Designing for her feels less like delivering a product and more like creating a piece of her story. I’m inspired by that kind of honesty. She values feeling over perfection, and presence over performance. And that’s what I try to bring to life- something quiet, confident, and deeply her.
It’s not about transforming into a bride- it’s about amplifying what’s already there. There’s beauty in that kind of restraint. It’s about wearing something that feels aligned, honest, and truly your own. That’s what makes it beautiful.
Q: Your work honors process and intentionality in a way that feels deeply human. How do those values show up—in the studio, in fittings, in how you connect with brides?
A: Every piece I make is rooted in intention. My heart is in every part of the process- from the first fitting to the last detail. There’s a deep level of care behind every piece I design. I never want a bride to feel like she’s just another appointment, I want her to feel seen, celebrated, and inspired.
In the studio, that means I take my time. I listen. I problem-solve. I love the quiet moments during a 1:1 fitting, when a bride tries something unexpected and suddenly lights up. That spark and quiet confidence is everything and I believe this is the kind of attention to detail that makes the final piece feel so personal.
Designing for this bride feels like a conversation rather than a transaction. It’s not about transforming into a bride, it’s about amplifying what’s already there. There’s beauty in that kind of restraint—in choosing something that lets you feel free, grounded, and beautiful all at once.
Q: Outside of bridal, what inspires you? Are there materials, rituals, or creative spaces that continue to shape your perspective as an artist?
A: I find that when I create space for quiet, the ideas become louder. So my inspiration often comes from working hands-on in the studio. Draping without a plan, sewing aimlessly, stepping back. I don’t always need something dramatic to spark a new idea, sometimes just undoing a seam or manipulating the fabric in a different way leads to something worth exploring. That trial and error process is what keeps my work evolving.