“The car is the ultimate extension of the human body, a mobile exoskeleton that redefines our relationship to time, space, and flesh.” — David Cronenberg on the making of ‘Crash’ (1996)

Named after Cronenberg's film, the collection Crash embodies a tension between body and machine. Cars have become an extension of the human body and a symbol of progress. In our rush toward modernity - the constant push for more speed, more efficiency - automobile machines have placed our movement, our time, and our sense of self on a track towards an inevitable collision.

The silhouettes of Crash - Hoodies, bomber jackets, and armored denim - are distorted versions of performance automobile clothing and still retain their utility. 

Conceptually, Crash confronts the unsustainability within our constant pursuit of technological progress. This idea is translated directly into the collection’s sustainable construction techniques, where automobile waste materials are transformed into new garments. A repurposed car cover becomes a bomber jacket, old sports T-shirts stitched together form a skirt, and rusted gear chains are used as a dye for jersey.

 Functionality is enhanced by the use of emerging technologies in the construction of the collection. Laser-cut lace that echoes the quilting of car seats, denim surfaces are dyed and waxed to resemble cracked glass, and seams are bolted together with steel. Construction was informed by the logic of hardware assembly. Fastenings, clips, and repurposed tyres and knee pads act as both structural elements and ornaments. 

When it gets dark and it seems like it's about to rain, my grandmother used to hum this song to soothe me during my childhood. As an adult, I reflect on the hardships my grandmother endured in her time, and the golden era that once was. The beautiful Taiwan blue magpie, the decorative tiles symbolizing blessings—these represent my grandmother's era of grace. The nurturing love of my grandmother, along with the Taiwan that raised me, shaped my youth just as a mother would. Like a faint light in the darkness, she taught me not to fear the storm, but to face the future with courage. 

天黑黑 欲落雨 黑黑 黑黑 我的小時候,下雨的時候,我的阿嬤總喜歡哼著這首歌哄我 成年之後,回想在阿嬤含辛茹苦的年代、曾經的流金歲月裡 美麗的臺灣藍鵲、寓意祝福的花磚......,象徵阿嬤的美好年代 阿嬤的養育之恩、生長的臺灣,如母親般孕育著自己的年少,育我如母! 如黑暗中的一縷微光,教會少年不怕風雨,懷著勇氣迎向未來。

To Grandma is a collection built around the idea of sustainability. I reused leftover silicone and hardener from factories by applying these materials to knitted fabrics, giving waste materials a second life and reducing unnecessary waste. I also used natural and recycled fibers, such as bamboo fibers and recycled cotton, to make more responsible material choices. The silicone coating not only creates a unique texture but also improves the garments by making them more waterresistant, durable, and resistant to abrasion.

Beyond material sustainability, I also wanted to preserve Taiwanese culture. Through contemporary knitwear, I reinterpreted traditional Taiwanese crafts and cultural elements, such as floral tiles and bamboo weaving, allowing these traditions to be seen in a new way. Inspired by my grandmother's story, the collection creates an emotional connection between the wearer and the garment, encouraging people to treasure their clothing rather than treat it as something disposable. I believe sustainability is not only about choosing better materials, but also about creating garments that carry cultural value, personal memories, and can be appreciated for many years. 

《育我如母》重新利用工廠剩餘的矽膠與硬化劑,將原本可能被廢棄的工業材料覆合 於針織布料,延長材料的生命週期並減少浪費。同時,作品搭配竹纖維、再生棉等天然 與再生纖維,希望透過更負責任的材料選擇,降低對環境的影響。矽膠塗層除了賦予 布料獨特的質感,也提升了服裝的防潑水性、耐磨性與耐用度,使作品兼具美感與功 能性。 除了材料永續之外,我也希望延續台灣的文化記憶。作品透過當代針織重新詮釋花磚、 竹編等台灣傳統工藝與文化元素,讓這些逐漸消失的文化以新的形式被看見。系列以 祖母的故事為創作核心,希望建立穿著者與服裝之間深層的情感連結,讓服裝不只是 被消費,而是能夠被珍惜、保存,甚至代代傳承。我相信,真正的永續不只是來自材料 的選擇,更來自服裝所承載的文化價值、情感記憶,以及跨越時間的生命力。 

Inspired by the fleeting interplay of light and color within a kaleidoscope, the collection challenges conventional garment-making by integrating pattern, structure, and textile into a unified process. Using computerized flat-knitting technology, these elements are simultaneously generated during the knitting process. The tension of ribbed structures is combined with transparent yarns, allowing the garments to naturally mold to the body and create fluid silhouettes between coverage and translucency. Through the interaction of material, structure, and the body, the collection reinterprets the spatial possibilities of knitwear. 

以萬花筒瞬息變化的光影與色彩為靈感，突破版型、結構與面料分別建構的傳統製衣 方式，運用電腦橫編針織使三者於織造過程中同步生成。結合羅紋組織的張力與透明 紗線，讓服裝隨人體自然塑形，在包覆與透視之間呈現流動的身體輪廓，重新詮釋針 織服裝的空間表現。

The knit structures, textiles, and garment constructions are all developed independently, using computerized flat-knitting technology to simultaneously generate the pattern, structure, and textile during the knitting process. This approach reduces material waste associated with conventional cutting and improves resource efficiency, responding to the principles of sustainable design. The tension of ribbed structures, combined with transparent yarns, allows the garments to naturally mold to the body while providing elasticity, support, breathability, and comfort. Rather than requiring the body to conform to a fixed silhouette, the design responds to the body’s natural form and movement, using the interplay of translucency and coverage to embrace the diversity and autonomy of the female body. It integrates sustainability, functionality, aesthetics, and contemporary knitwear design into a unified approach. 

作品由針織組織、面料至服裝結構皆自主開發，運用電腦橫編針織，使版型、結構與面料於織造過程中同步生成，降低傳統裁剪造成的材料耗損，提升資源使用效率，回應永續設計理念。透過羅紋組織的張力與透明紗線交織，使服裝隨人體自然塑形，兼具彈性、包覆性、透氣性與舒適度。設計讓服裝回應身體，而非要求身體迎合固定輪廓， 透過透視與包覆交錯展現女性身體的多元樣態與自主性，實踐永續、機能、美學與當代針織設計的整合。 

Within the order of the suit, arrogance dances with dislocation, while glory blankets the finest desolation.

The collection centers on the suit as a symbol of power, identity, and order, reflecting on fast fashion driven by profit and consumption, and the production pressures, environmental costs, and inner contradictions hidden beneath polished appearances. 

Through deconstruction, asymmetry, layering, and localized hand-weaving, established structures are reimagined, transforming tensions of identity, social pressure, and consumption into visual language. Distinct colors and intricate prints evoke complex, melancholic inner states, contrasting the suit’s crisp authority with the disorder within. 

在西裝的秩序裡，傲慢與錯位共舞，榮耀覆滿最精緻的荒蕪。 作品以西裝所承載的權力、身份與秩序為核心，延伸快時尚盛行下由利益與消費驅動的社會現象，反思光鮮表象背後的生產壓力、環境代價與內在矛盾。外在越是精緻挺 括，越掩藏著難以被看見的失序與荒蕪。 設計以解構、錯位、不對稱與層疊重新拆解西裝結構，融入局部手工編織技法，將身份、社會壓力與消費行為的隱性矛盾轉化為服裝張力；不同色彩與繁複印花則映照內 在陰鬱而複雜的心理狀態，使外在挺括的權威秩序與內在失序產生反差。   

Sustainable materials are combined with localized hand-weaving and modular construction, allowing both woven elements and garment components to be detached, transferred, and reconfigured across different pieces. This structural flexibility enables multiple ways of wearing and styling, extending the garment’s lifespan. Hand-drawn motifs are developed into seamless patterns, preserving the traces of craftsmanship and the uniqueness of each design. 

AI-assisted composition and 3D simulation are used to refine pattern placement and garment configuration, reducing repeated physical sampling and material waste. Through detachable, reconfigurable, and interchangeable displaced structures, the collection enhances versatility and everyday wearability, with potential applications extending to suits, vests, and accessories.

選用可再生材質，將局部手工編織結合模組化結構，使編織部件以及衣身實現可拆卸、 轉移並重新配置於不同單品，透過結構重組實現一衣多穿，增加穿著與造型變化，延 長服裝使用週期。印花以手繪四方連續圖樣延展，保留手作痕跡與設計獨特性；並以 AI 輔助構圖、3D 模擬確認版型與配置，減少反覆實體打樣與材料耗損。透過可拆、可 組、可替換的錯位設計，提升服裝使用彈性與日常穿著機能，並具延伸至西裝、馬甲及 配件等商品的應用可能。 

A famous song from a well known Chinese artist Jay Chou,describing a serial killer who always places a rose on victim’s face,by turning the eerie atmosphere into silhouette,those clues were remolded and fuse into garment patterns, beware of the face undercover, try your best to outlive and crack the case. 

取材自廣為人知的亞洲天王周杰倫之經典名作夜的第七章，故事描述一名連環殺人犯，其手法為將玫瑰放置於受害人之屍首。詭譎氛圍轉化為剪裁、線索解構並融入服裝本體。當心幕後藏鏡人、努力生存，並且嘗試破案。   

This collection takes military uniforms, uniforms, and workwear as its design foundation. Through deconstruction, reconstruction, and modular design, it rethinks the function and usage of clothing. Details such as multiple pockets, zippers, structured shoulders, layering, and modular components provide practical functions including storage, protection, warmth, and adjustment, while maintaining a strong visual identity.

In terms of sustainability, this collection does not focus solely on eco-friendly materials, but rather on extending the lifespan of clothing. Durable structures and multifunctional designs allow each garment to adapt to different situations and wearing needs, increasing its usability and reducing the possibility of being quickly discarded due to changes in style or function. Deconstruction and reconstruction also create possibilities for variation and reuse, integrating sustainability into the design, function, and everyday use of clothing.

本系列以軍裝、制服與工裝為設計基礎，透過解構、重新組構及模組化的方式，重新思考服裝的功能與使用方式。作品中運用多口袋、拉鍊、立體肩部、分層與可組合結構，使服裝除了造型表現外，也具備收納、防護、保暖與調整等實際功能。

在永續方面，本系列並非單純以環保材質為主要訴求，而是從「延長服裝使用週期」出發。透過耐用的服裝結構與多功能設計，使單件服裝能適應不同情境與穿著需求，增加服裝的使用率，降低因造型或功能改變而快速淘汰的可能性。解構與重新組構也讓服裝具有更多變化與再利用的可能，將永續概念融入服裝的設計、功能與使用方式之中。 

The collection originates from a childhood memory of walking home with my father on a rainy day in rural Yeongwol, South Korea. This personal experience led to the observation of creative protection strategies—the small, spontaneous gestures people make to protect themselves from rain, such as holding bags over their heads, lifting up their trousers or skirts, or instinctively curling their bodies for protection. These gestures and the movement of rain are translated into enveloping silhouettes, protective structures, soft transitions, and dynamic forms. By the deconstruction of vintage garments and draping, new forms that reflect the spontaneous gestures of protection are developed. 

Through textile experiments with transparent, reflective, and lightweight materials, the collection explores how material behavior, surface, and movement can express the visual atmosphere of rain. This experimentation extends beyond pattern development, influencing the selection of technical fabrics and the strategic integration of sequins. These aesthetic choices define the collection’s visual language, ultimately connecting a personal childhood memory with the universal human experience of vulnerability, protection, and spontaneous adaptation.  

To minimize reliance on newly produced resources, the collection incorporates conscious material choices and design methods. Through the deconstruction of vintage garments and draping, unique silhouettes are developed without producing new patterns from scratch. Furthermore, deadstock wool was utilized for fabric sourcing, and original print patterns were digitally printed onto recycled polyester fabrics as an alternative to conventional polyester. 

To align with the rain-inspired theme, water-resistant technical materials—such as nylon, cotton blends, PU, and polyester—were selected to enhance functionality. Furthermore, aluminum wires are incorporated into several garments, allowing the wearer to adjust and transform the silhouettes dynamically while maintaining ease of movement and everyday wearability. 

Finally, sequins are integrated into the lower garments to catch and reflect light with movement, visually evoking the shimmering, transparent qualities of raindrops.  

As a child, I imagined aliens appearing whenever my mother left home, bringing play, curiosity, and mischief. Over time, I realized they represented the playful, imaginative, and unconventional parts of myself. This collection explores the coexistence of childhood and adulthood, fantasy and reality, order and chaos. 

The alien symbolizes the inner child that continues to create and question, reminding us that growing up does not mean leaving ourselves behind. 

小時候我想象每當媽媽離外出時外星人就會出現帶來遊戲、好奇心和惡作劇。 隨著時間的推移我意識到它們代表了我自己俏皮、富有想象力和非常規的部分。 這個系列探討了童年和成年、幻想和現實、秩序和混亂的共存。 外星人象徵著不斷創造和質疑的內心提醒我們⻑大並不意味著放棄那個像小孩般的自己。

I create garments with memorable textile patterns and transformable designs that offer multiple ways to wear and style them. By creating an emotional connection with the wearer, I hope each piece becomes something they cherish and keep for a long time. 

我希望透過具鮮明記憶點的布花設計和版型的變化佯創造出多種搭配方法佯並賦予服裝獨特的情感佯使穿著者不僅將它視為一件衣物佯更像珍藏寶物般珍惜與保存延⻑服 裝的使用壽命。  

Created in collaboration with the Hungarian Ice Hockey Federation, the concept explores how clothing can strengthen the connection between fans and their teams. By upcycling hockey jerseys into contemporary looks, the collection responds to the needs and desires of fans, transforming symbols of team identity into personal expressions of belonging. Each look offers fans a new way to celebrate their team while giving existing garments a second life through fashion. 

Developed in collaboration with the Hungarian Ice Hockey Federation, the collection explores the connection between performance, functionality, and sustainability. It reinterprets fanwear as an active part of the match-day experience, creating a stronger connection between the fan, the team, and the atmosphere of the rink. 

The oversized padded jackets are designed for thermal comfort in the cold environment of ice rinks, while the quilting reflects the dynamic movement and energy of hockey players. During a match provided by the Federation, I had the opportunity to observe the environment and identify the practical needs of fans. These observations informed the design of the functional elements, including an attachable seat cushion, glove sections connected to the jacket, and a scarf secured directly to the garment. 

Sustainability is a key aspect of the collection, with the garments made from previously used hockey jerseys. Through upcycling and reuse, the existing materials are given a new purpose and their lifecycle is extended. 

A Raven captured on film is merely a projection of the photographer’s own self, an afterimage seeping through the oxidation of emotion, oscillating between intimacy and distance. Through prolonged, repeated soaking in ink and rust water, the work recreates the texture of photographic film and the sedimentation of emotional oxidation. The concept of muscles enveloping bones is then translated into one-piece pattern cutting, expressing the subtle tension between intimacy and distance. 

底片相機拍下的烏鴉，只是攝者自身的投射，情緒氧化後滲出的殘像，在親密與疏離間反覆擺盪。透過長時間反覆浸泡墨汁及鐵鏽水來呈現底片質感與情緒氧化的沉澱，並藉由肌肉包覆骨骼的概念發展一片式版型，來表達拍攝者對於親密與疏離間的隱晦張力。   

To embrace sustainable fashion, we must rethink the relationship between clothing, time, the body, and the individual. 

This collection uses natural-fiber fabrics and natural dyes to preserve the inherent qualities of the materials, allowing the garments to naturally oxidize, fade, and accumulate traces over time. 

In the details, I deliberately avoid metal hardware, replacing it entirely with wooden and handmade ceramic buttons, allowing the garments to retain their original wearing experience even as they age. 

Through each individual’s way of wearing and living environment, the garments gradually develop unique traces, preserving memories that belong solely to the wearer. 

Sustainable fashion is a way of life that has been internalized. 

想表達永續時尚，必須重新思考服裝與時間、身體及人的關係。 本系列透過天然纖維布料、天然媒材染色讓衣服能保留自然質地並隨著時間氧化、 褪色、沉澱。 在細節上，我也堅持不用五金配件，全數以木釦與手工陶磁釦替代，讓衣服在老化後也能保有最原始的穿著體驗。 隨著每人的穿著方式、生活環境，留下屬於個人獨有的痕跡，留下屬於個人的記憶。 

「永續時尚」是一種內化過後的生活方式。  

The Flaking Strata collection explores architectural decay through the sartorial lens of 1920s Dadaocheng, Taiwan. During this era, the Western suit emerged as a symbol of modernity and class. I subvert this pristine symbol through extreme artisan intervention. By integrating natural mud dyes into the fabric and applying rigorous physical distress, the garments mimic the weathering and flaking concrete facades of century-old architecture. 

This collection embraces the philosophy of Kintsugi, perceiving structural damage not as a defect, but as an aesthetic opportunity for repair. The muddyed, frayed garments are meticulously reconstructed using Taiwanese traditional hand-woven rush nets, applied as asymmetric, three-dimensional grids. This yields a profound material dialogue: the heavy, distressed drape of Western tailoring collides with the raw rigidity of local rush weaving. The resulting garments are sculptural forms that immortalize the physical traces of time and elevate the irreplaceable value of traditional artisan craftsmanship. 

《剝痕》系列透過 1920 年代大稻埕的洋服視角，深刻探索建築的物理衰變。西裝 曾是現代性與階級的象徵，我透過極致的職人介入顛覆了這份完美。藉由將天然泥 土染料揉合於布料中，並施以嚴苛的物理破壞，西裝精準模擬了百年建築斑駁剝落 的水泥外牆。

 本系列全心擁抱「金繕 (Kintsugi)」哲學，將結構毀損視為職人修復的美學契機。 那些佈滿泥染與磨損痕跡的服裝，結合了極具張力的台灣傳統手工藺草編織網片， 以不對稱的立體網格進行重組。這種技法產生了深刻的材質對話：西方剪裁厚實的 頹廢感，與在地藺草編織粗獷的硬挺感完美交織。最終呈現的服裝化為具備雕塑感 的型態，不僅將時間的物理印記化為永恆，更彰顯了傳統職人工藝無可取代的價值 。  

In the Flaking Strata collection, eco-conscious practices and cultural narratives seamlessly intertwine to redefine artisanal luxury. My commitment to a circular economy begins by exclusively upcycling deadstock, naturally yellowed wool fabrics discarded by traditional tailor shops. Instead of masking their oxidation, I celebrate these inherent signs of age as the perfect foundation for the collection's core philosophy—Kintsugi. These organically aged textiles flawlessly mirror the weathering and flaking concrete facades of 1920s Dadaocheng architecture. To elevate this concept, I integrate zero-pollution natural mud dyeing and reconstruct the distressed areas using biodegradable, traditional Taiwanese rush weaving. By transforming forgotten tailoring canvases into highend sculptural garments, this practice actively counters the overproduction of fast fashion. Ultimately, it fosters a profound dialogue between discarded local history and artisan craftsmanship, proving that true sustainability and luxury lie in preserving time, tactile memory, and our connection to the land. 

在《剝痕》系列中，環保永續與文化脈絡被巧妙交織，重新定義了工藝時尚的價值。我 的零廢棄承諾從源頭展開，全面採用傳統西裝店淘汰、庫存積壓且自然泛黃的老舊西 裝布料。我並未掩飾這些布料的氧化痕跡，反而將其視為實踐「金繕 (Kintsugi)」哲學 最完美的基底。這些真實的歲月印記，自然呼應了 1920 年代大稻埕歷史建築上斑駁 剝落的風化牆面。為了深化這份歷史感，我結合了零污染的天然泥土染料，並運用可 完全生物降解的台灣傳統藺草編織，對布料進行職人修復。透過將被遺忘的廢棄布料 轉化為高端訂製服，本系列不僅積極對抗快時尚的過度生產，推動工藝循環經濟，更 建立起深刻的文化對話。它完美連結了消逝的在地西裝產業歷史與匠人的手作溫度， 證明了真正的奢華與永續，存在於對時間、記憶與土地的極致珍視之中。 

Future Groom draws inspiration from traditional Hungarian wedding attire, reinterpreting lace, draping, and soft silhouettes within menswear. By blurring the boundaries between celebration and everyday life, and between masculinity and femininity, the collection challenges conventional ideas of menswear and proposes greater freedom in how men dress and express themselves.      

SUSTAINABILITY 

Future Groom reconsiders the conventional idea that wedding garments are meant to be worn only once, bringing the beauty and symbolism of ceremonial wear into everyday life. Sustainability is not simply about creating durable clothing, but about extending the role of garments beyond a single occasion and creating lasting value that makes people want to wear and cherish them for years to come. 

FUNCTIONALITY 

Lace, draping, and soft silhouettes are reinterpreted within menswear, balancing the elegance of formalwear with the practicality and comfort of everyday clothing. By moving beyond traditional gender boundaries, the collection also offers greater freedom in how garments can be chosen and worn. 

PERFORMANCE 

While maintaining their decorative qualities, the garments are designed to move naturally with the body and provide a comfortable wearing experience. The elegance of ceremonial wear is preserved while being reimagined for various situations beyond special occasions. 

The seemingly effortless improvisation of jazz is the relentless refinement of generational heritage, materialized in this collection as the mottled verdigris on aging brass instruments. 

To capture time's imprint, l use vegetable-tanned leather, unconventionally hand-staining it with fabric dyes to recreate a natural, breathing patina. Complementing this, digitally programmed knitwear-refined through rigorous yarn experiments and metallic spray techniques-captures the shimmering resonance of oxidizing brass.

Structurally, the pattern making is directly inspired by the flared bells and sweeping contours of wind instruments, translating the uninhibited freedom of jazz into fluid, deconstructed silhouettes. Through this complex material fusion, the profound soul of jazz takes root in the contemporary era, paying homage to a timeless "perfect imperfection."

看似隨性的爵士即興，實為世代底蘊的淬鍊。本系列將此文化傳承，具象化為老舊銅管樂器上斑駁的銅綠。

為融合時間印記，我打破傳統，以植鞣革結合布料染劑手工染色，重現自然仿舊的呼吸光澤；針織單品則經由數位編程與金屬處理技術，捕捉黃銅氧化時的閃爍共鳴。在服裝結構上，版型設計直接汲取了管樂器的喇叭口與樂器蜿蜒的輪廓，將爵士樂奔放自由的靈魂轉化為流動剪裁。透過服裝解構與材質交融，讓爵士精神於當代紮根，致敬「不完美中的完美」。      

This collection embraces "perfect imperfection" for sustainability. I upcycled discarded, unsellable leather-rejected due to dirt, insect bites, and scratchesgiving new life to these time-worn flaws, paired with zero-waste digital knitwear.

Functionally, the knitwear provides breathability and stretch, while the leather ensures durability. Inspired by wind instruments, the fluid silhouettes maximize freedom of movement, seamlessly merging upcycled aesthetics with practical performance.

本系列將永續精神具象化於「完美之瑕」。特別選用因蟲咬、刮痕或髒污而被市場淘汰的滯銷皮革，將這些帶有時間歷練的瑕疵升級再造，並結合數位編程針織以減少生產廢料。機能上，針織提供絕佳透氣與延展性，皮革則強化了耐用度。源自管樂器輪廓的流線版型不僅呼應爵士樂，更釋放肢體活動空間。