Yun Liang Hsu

In the FW22 season, the introduction of the pigeon clutch bag by JW Anderson dropped a bombshell in the fashion industry with its captivating design and widespread acclaim. This intriguing observation of daily objects motivated me to think about the profound influence of things surrounding us. It reminded me of the importance of creating ornaments that resonate with people's emotions and experiences, rather than simply making jewellery for the sake of adornment.

In this collection, I attempted to push the boundary of traditional jewellery by integrating the philosophy of Ikebana and the concept of semiotics by Roland Barthes. Drawing inspiration from the shape of tape and Kenzan, I sought to unravel hidden narratives and imbue new layers of significance into things we neglect. Through the transformation of functions, I intended to evoke a sense of familiarity and association with the principles and aesthetics of traditional Japanese flower arrangement. Moreover, by embracing the idea of ritualistic design, this series of works provides people with a transcendent and transformative experience beyond their utilitarian nature through the action of arrangement.

Through a seamless blending of modern and traditional, natural and artificial, I endeavoured to challenge conventional notions of form and materiality. My intention was to invite contemplation on the interplay between art, design, and the narratives we attach to everyday objects. Through this thought-provoking exploration, I aimed to engage viewers in a thought-provoking exploration of the connections and meanings that emerge from this fusion of cultural references and functional fashion jewellery design.