CHIA-CHENG CHANG

Consciously choosing materials, while allowing the design to flow unconsciously.
No fashion sketches were made—instead, the silhouettes were guided purely by emotional responses to materials, allowing collaboration and dialogue with textiles and dyes throughout the process. By avoiding overly figurative or highly visualized creation, I aimed to find a space of pause and openness—a space that is subtle and unforced, neither overly constrained nor excessively free. It is a space beyond binary oppositions, a space for healing, and a search for the intersecting point between dualities.

The entire collection was hand-sewn with pure cotton thread. The fabrics include cotton, linen, and discontinued stock of cotton-linen blends from old Taiwanese textile mills. Since all the fabrics were undyed and natural in color, the garments were hand-dyed in my dormitory using natural dyes, including longan shells, lotus pods, lotus leaves, indigo powder, rose branches and leaves, marigold flowers, and indigo. Iron mordant was used to assist the dyeing process. For buttons, I selected roughly 4mm-thick vegetable-tanned leather, which I hand-punched and crafted myself.

For the pattern design, I adopted a raglan sleeve style commonly seen in traditional East Asian garments. Because the shoulder line shifts depending on who wears it, the aim was to highlight each person's unique physical presence as an individual.

“Seeking Intersections for Self-Completion” is an experience—
A journey of self-understanding and healing.
In the pursuit of my dreams, I often overwork myself, leading to exhaustion and a sense of powerlessness. This prompted me to seek a new way of creating—one that allows dialogue between myself and my work, a stance that weaves back and forth between opposites and dualities. Through this process, I began to approach and embrace my own imperfections, realizing that within oppositions, I can move freely between them, rather than being confined to extremes in either creation or life.