“The Withering Flower” collection is inspired by the power of the flower image, its impact both visually and symbolically in Oriental setting. From the flower’s precise metaphor in classical Chinese literature, “The Dream of the Red Chamber”, which simultaneously reflects the women living in a feudal society; to the extend of how the flowers are interpreted in fengshui as well as gifting etiquette, I was vividly drawn to the Oriental world of defining the flower visuals.
I found the flower as a subject often perceived as readily available, and of easy access to the public’s eyes. It could be randomly seen as pretty, commercial, kitsch, or even mundane. Because of the blooming flower’s often delightful and appetizing appeal, I was immediately attracted to The Song of the Flower Burial in Cao Xueqin’s literature classic, “The Dream of the Red Chamber”, whereas the fallen and decayed petals beautifully yet melancholically symbolized the female protagonist’s struggle and sorrow in an oppressed feudal aristocrat society.
The flower is both the embodiment of life and the inevitable nature of transience. I find the preserved flower as a refined gesture of longevity, and the decayed petals as the beginning of a new life; although the decayed flower is often seen as a jinx in fengshui and the symbolism of misfortune in Chinese literature.
The collection takes on the traditional root of a decaying flower’s language in Oriental setting, yet I hope to interpret the commonly beautiful flower and the withering ones into an aesthetic, blending the stereotypical jinx with engineered beauty, reaching over norms as what appeals and what repulsed.. that the life and the cycle itself is a sublime transition.
“The Withering Flower” collection developed a series of printed and layered dresses. Each dress is composed of a different flower motif, with specific meaning according to the flower’s symbolism in Chinese literature. Whilst peony symbolized prosperity, yet poppy as sinister as sumptuous.
The fabric reflects the depth of the printed colours accordingly to the light direction, leaving the colour of the flower appears differently throughout the day.
The thrill of holding the first piece of printed sample in hands, though they soon were destroyed by an experiment accident..
Inspirations observed from Satoshi Kon’s animated movie “Perfect Blue” 1997, and Anya Gallaccio’s “Preserve Beauty” 1991
創作起初的靈感之一：觀察今敏的動畫電影 “藍色恐懼”，與藝術家Anya Gallaccio的”Preserve Beauty”鮮花裝置藝術
Inspired by Jeff Koon’s “Puppy” 1992, ideas of immediate affinity and pleasures taken in things that are readily available to the public
The number 4 is pronounced as “death” in Mandarin Chinese, hence consciously avoided in daily matters like telephone number, car plate license, hotel room, and traditional Taiwanese hospitals skipping the 4th floor in its building, instead labeling the floormap from 3rd floor straight up to 5th.
Sketches and toiling / Experimenting with ruched and creased silhouettes to preserve image of the pressured petal
手稿與測試胚衣中 / 嘗試剪裁出不同的層疊和皺摺來呈現花瓣的皺碾
Illustrations for Look 3 and Look 4 / Playing with my lingerie on sketchbook..
第三套與第四套洋裝手稿 / 在剪貼簿上嘗試拼貼我的小睡衣..
Painting large scale prints for screen printing / One of my favourite stage during all the development stage, exciting !
用筆刷畫出巨大只寸的黑白印花底稿，接著要製作成絹印模板了 / 這是我在所有創作過程中最喜歡的環節之一，非常期待！
Printed chrysanthemum and daisy
At the end of the day working in the print room, piling up all the prints and see them peacefully rest against each otehr.. soothing.