Profile: CHEN YU OU – Real Leather Design Competitions

CHEN YU OU

Shih Chien University

I am a graduating student from the Department of Fashion Design at Shih Chien University. With a background in garment construction and silhouette exploration, I have developed a strong sensitivity to how materials shape both form and identity. This year, I was introduced to leather craftsmanship through a bag design course, where I learned fundamental techniques and construction methods. Through this process, I became deeply drawn to leather as a material that evolves over time—recording traces of use and personal experience. To me, leather is not only a medium, but also a carrier of memory. I approach my work by translating my understanding of the relationship between body, form, and structure from fashion design into object and bag design. I am particularly interested in how function, form, and emotional attachment can coexist within a single piece. My work focuses on the concept of usage marks and personal narratives, exploring how objects can gradually become extensions of their users through time and interaction. By embracing the changing nature of leather, I aim to create pieces that are not static, but continuously shaped by experience. In the future, I hope to further explore leather craftsmanship and develop a distinct design language of my own.

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VESSEL OF MEMORY

Category: Design*

Competitions: Taiwan Region

Vessel of Memory reinterprets the form of billiard balls as vessels for preserving personal memories and emotions. Inspired by the precise and rule-based nature of billiards, the project transforms these familiar objects into irreversible containers that explore the relationship between memory, ritual, and closure. Each sphere is constructed from vegetable-tanned leather and hand-dyed to reflect the recognizable color palette of traditional billiard balls. An opening is positioned at the top of the sphere, allowing users to place personal belongings inside before completing the sealing process. Four metal locking clasps are integrated into the interior structure, preventing the object from being reopened externally once sealed. To access the contents again, the sphere itself must be physically destroyed. The act of sealing is designed as a deliberate ritual rather than a simple functional gesture. Through stitching and tightening the structure, the user participates in a conscious act of preservation and irreversible decision-making. The stitches become visible traces of time, emotion, and human interaction. By transforming a game object associated with order and precision into an emotional archive, Vessel of Memory examines how physical objects can embody memory, concealment, and permanence through material, structure, and use.