Wu began their self-taught career in 2008, when they posted 50 outfits on social media, which led to possibilities to produce fashion shows and collections across Canada.

Wu has concentrated on design through fleecer.ca, a wearable technology firm, @wumingbong on YouTube, a transgender and non-binary advocacy platform, and a Huffington Post column researching queer theory, trans studies, and transhumanism since transitioning.

[5] The same day that Wu was offered the position, they received an invitation to show their Fall Winter 2010 Collection at Vancouver Fashion Week.

[10] Quickly known as the 18-year-old-boy who modelled their own dresses, Prestel published Wu internationally in a book called Style Diaries: World Fashion from Berlin to Tokyo in February 2011.

[17] Wu had the opportunity to collaborate with Margaret Atwood at the Book Lovers Ball, hosted in support of the Toronto Public Library in January 2012.

[20] Later that month, Canada's Got Talent host Dina Pugliese modeled Wu's custom designed dress for the 2012 Dare to Wear Love Fashion Show,[12] again serving as a fundraiser for the Steven Lewis Foundation.

[21] Wu has dressed celebrities such as Jessi Cruickshank, Keshia Chanté, Dina Pugliese, Kreesha Turner, and Christine Avanti.

[23][24][25][26] Other television news and fashion programs to cover WU include FashionTelevision, CBC's Creative Block and CNTV's Culture Express.

[32] After Wu's debut at Toronto Fashion Week in late 2011, Natalie Atkinson of the National Post criticized them for "threads hanging from the seam" and sending "unabashedly hairy-legged boys" down the runway.

[33] In early 2012, Wu had their "Hierarchy of Needs" FW12 show at Toronto Fashion Week, which involved models wearing Guy Fawkes masks.

[36] They have since openly participated in the Trans Fusion drop-ins at the Sherbourne Health Centre in Toronto, advocating for the visibility of non-binary identities within the vast spectrum of gender diversity.

It added: "While the gowns themselves were quite striking in a palette of muted colours and constructed to Wu's signature voluminous style, it was not the focus of the audience, and apparently not that of its either.