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YungYung Chuang

Shih Chien University

Hi, I am Yungyung Chuang, a final-year Fashion Design student at Shih Chien University.Since childhood, I have been deeply captivated by art and anything that embodies romance and beauty. Fashion, naturally, has always been a significant part of that world. However, becoming a fashion designer was never my primary dream until four years ago when I formally embarked on my creative journey as a design student.The experiences of these past four years have subconsciously shaped my signature style: one that is inherently romantic and distinctly personal. I find joy in fusing my aesthetic sensibilities with translucent materials like tulle and lace, weaving stories from my surroundings into every piece I create.This project marks my first extensive use of leather. It has been a transformative experience—working with a medium that is the complete antithesis of the materials I am accustomed to. While challenging, I have deeply enjoyed the process. For me, design is more than a craft; it is a way to communicate my aesthetic vision with the world.

Growing Grilles

Category: Accessories

Competitions: Taiwan Region

"Iron window grilles: the armor of a home, and a poetic anthology of light and shadow." At the heart of this design lies the "Iron Window Grille" culture, a hallmark of 1970s Taiwan, exploring the resurgence of traditional craftsmanship within contemporary bodily aesthetics. Originally serving as a protective boundary for residences, these grilles isolated the interior from the world, yet simultaneously filtered sunlight through their geometric textures, locking a sense of nostalgia and security within the home. I have three-dimensionalized the iconic "Plum Blossom" and other classic geometric motifs from these grilles. Utilizing leather wet-molding (cuir bouilli) and integrating leather cords of varying densities, I mimic the physical tension of "bending, folding, and twisting" iron bars to construct a bag silhouette resembling an "Exoskeleton." This work breaks away from the isolated existence of traditional bags, instead "growing" toward and onto the body. It follows the natural rhythm of human joints, spiraling from the spine to the shoulders, neck, and arms, forming an organic, kinetic installation that extends with every movement. As light passes through the hollows of the leather armature, the grille patterns are projected onto the wearer’s skin. The interplay of deep shadows and skin tones symbolizes that cultural memory is no longer a cold, stagnant relic of the past, but a living "dermal imprint" symbiotic with the body. This is more than just a bag; it is a profound dialogue between protection and openness, rigidity and softness, and the sacred bond between tradition and the human form.

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