《Topology of Illustrator》來自我對服裝設計創作過程的反思。服裝設計常被視為一種靠直覺掌握、難以言說的感覺，我想挑戰這種神祕化的想像，讓設計變得更透明、更易理解。這次我不將「衣服」視為唯一創作對象，而是將整體設計流程本身作為作品的核心。
透過Illustrator將3D的服飾轉化成2D，透過效果器修改所參考的服飾線條並輸出成版型，用軟體來理解服裝，製作服裝，使轉化過程清晰可見，讓創作不再被脈絡、個人因素遮蔽，而是一套可以任意變化的語言。
“Topology of Illustrator” originates from my reflection on the creative process in fashion design. Fashion design is often perceived as an intuitive, ineffable practice—something that resists explanation. I aim to challenge this mystified notion by making the design process more transparent and comprehensible.
In this work, I do not treat clothing as the sole object of creation; instead, the entire design process itself becomes the core of the piece.
By using Illustrator to convert 3D garments into 2D representations, modifying garment lines through effect tools, and outputting them as patterns, I use software to understand and produce fashion. This renders the transformation process visible and explicit, turning creation into a flexible language—no longer obscured by context or personal subjectivity, but open to reinterpretation and variation.
《Topology of Illustrator》不只是關於服裝形式的設計，而是對整體設計流程的結構性探索。透過將設計流程圖像化、模組化，它試圖提供一種可複製、可溝通的設計語言，這本身即是一種「功能性」的實踐——不再依賴神祕化的創作直覺，而是強調設計系統的邏輯與使用性。
在「機能」的層面上，作品借用 Illustrator 工具作為符號化的介面，使服裝元素如袖長、衣片、比例等成為可操作、可計算的變數。這樣的做法將身體與服裝的關係轉化為一種演算機制，使設計具備高度的調整與適應能力，對應當代服裝在不同體型與文化間的多樣需求。
關於「永續」，此作品不以物質生產為導向，而是聚焦在知識、流程與系統的創造與再利用。透過使設計語言透明並民主化，它為他人提供再創作的可能性，從而延長了設計價值的生命週期。這種以思維生產代替物質堆疊的方式，本身即回應了永續設計的核心精神：減法、生態性與共享。
“Topology of Illustrator” is not merely about the formal design of garments, but a structural exploration of the entire design process. By visualizing and modularizing the workflow, it seeks to establish a replicable and communicable design language—one that embodies functionality by shifting away from mystified creative intuition and emphasizing system logic and usability.
On the level of function, the project adopts Illustrator as a symbolic interface, transforming garment elements such as sleeve length, bodice panels, and proportions into manipulable and calculable variables. This approach reconceives the relationship between body and clothing as a computational mechanism, enabling high adaptability and responsiveness to diverse body types and cultural contexts in contemporary fashion.
Regarding sustainability, this work does not focus on material production but instead prioritizes the generation and reuse of knowledge, process, and systems. By making the design language transparent and democratized, it opens up possibilities for reinterpretation and re-creation by others—thereby extending the lifecycle of design value. This strategy of replacing material accumulation with cognitive production inherently aligns with the core ethos of sustainable design: subtraction, ecological sensitivity, and shared authorship.