《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 。
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.
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。
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.