A More Natural Self

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Today, people are paying increasing attention to self-expression. The relationship between “clothes and body” is no longer a superficial one of mere coverage and decoration, but a deeper reflection of existence itself. Each person’s clothing becomes a unique manifestation of their inner spirit, professional identity, aesthetic attitude, and even the pulse of the times—forming a moving declaration of the self.

Inspired by art historian Wu Hung’s Women’s Space in Painting, Edition 28 draws upon traditional Chinese aesthetics to create a fluid space between “virtuality” and “reality,” “being” and “nothingness.” Rather than seeking total coverage, it embraces the harmonious coexistence of the three concepts: white space, Qi, and Between.

By carving out white space, the body is allowed to breathe. Soft fabrics are chosen to guide the flow of Qi, enabling the spirit to move freely. The concept of Between is constructed to protect the mystery and dignity of the body amidst moments of imminent separation. The aim is for clothing to offer a rich sense of existence—deeply rooted in the body yet transcending its physical form. In styling, the silhouette appears full and heavy, but in reality feels light, relaxed, and strongly enveloping—allowing a more natural texture to emerge and be expressed.

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AN ENCOUNTER WITH MARAT

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Inspiration behind the Edition 26 Collection.

Exactitude

Calvino distinguishes between two modes of creation through the metaphor of biological formation: fire and crystal. The former represents "order in the noise," characterized by constant internal agitation; the latter embodies precision and complexity, with its dense structure and light-refracting surface—a perfect model. As Flaubert once said, "God is in the details," and this serves as a geometric explanation of the universe. Time unfolds around us in two sets of events, emotions, styles, and categories.

Red is Not Just a Color

Red is the first color experienced by humans and stands at the apex of emotional expression in the color spectrum. Red signifies the essence of life—whether crimson, bright red, blood, or scarlet. Its simple yet profound biological characteristics represent the beginning of life, a concept embraced by every civilization. In the Middle Ages, red symbolized luxury, enjoyed by prelates, knightly orders, and secular nobles. Scarlet robes were interwoven with the blood of Christ and the fire of Satan, symbolizing both the holy and the sinful. While other colors may fade from fashion, red endures. During the 18th century, the Constitutional Convention in Paris declared that red flags, dyed by the blood of revolutionaries, should be displayed, making red a powerful symbol of class consciousness. In daily life, red is closely associated with love, passion, vividness, and loyalty. In modern times, Fauvist painters skillfully used red to portray the seductive allure of women.

The Community

Artists have long been committed to capturing the spirit of their times and narrating contemporary events. Jacques-Louis David's 1793 painting *The Death of Marat* became famous in art history for its restrained composition, clear portrayal, and exquisite detail. By referencing the distant past and employing classical techniques with cool-headedness, analytical insight, and a strong commitment to building the Republic, David was able to harness the energy of social transition and express the public’s vision, even in the midst of turmoil.

Framing or Breaking the Rules

In Renaissance art, framing played a crucial role in confirming the independence of artworks, separating them from the wall. The frame, often decorated with inscriptions and angels, acted like a shrine, bringing order to space and presupposing the concept of place itself. Framing implies the center and the edge, the beginning and the end; it is a perspective that makes understanding possible by serving as a medium between the viewer and the subject.

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