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Qing Heng Lee

Shih Chien University

My name is Qing-Heng Lee, and I am currently studying Fashion Design at Shih Chien University. Throughout my studies, I have gradually focused my interests on material experimentation and conceptual translation, with a particular emphasis on expressing emotions, cultural meanings, and visual narratives through fashion. Through various design projects—from concept development and pattern making to garment construction, as well as styling for photoshoots including hair and makeup—I have developed the ability to navigate different roles and collaborate effectively within a team. I also place strong importance on the language of materials, often working with vegetable-tanned leather and upcycled materials to ensure that my designs not only present a visual statement but also respond to sustainability and environmental concerns. My design approach is characterized by a sense of rawness and emotional tension. I am drawn to combining rugged elements with refined details to create a balance between contrast and harmony. Influenced by art and cultural symbolism, I aim to reinterpret these elements into contemporary fashion expressions. In the future, I hope to further refine my design language and gradually develop my own brand, extending my creative practice into a more comprehensive visual and commercial system.

Exploit

Category: Apparel

Competitions: Taiwan Region

When possession becomes habitual, boundaries dissolve unnoticed. Beyond Eden, desire emerges and proliferates—an instinct that compels continuous taking, settling into a normalized trace within human behavior, while loss quietly dissipates into the structure that sustains it. This series employs flesh-toned leather as its primary medium, approaching the body as a form that can be reshaped, overwritten, and transferred. Through the juxtaposition of soft and rigid molding, the material oscillates between extension and fixation, mirroring a desire that is at once intimate and unyielding. Layers of varied skin tones accumulate and intersect, evoking surfaces that appear peeled, displaced, or reassembled. Organ-like forms become integrated into the garments, suggesting a primitive and ambiguous language of identity. Fabric operates through its inherent qualities: translucency exposes, weight conceals. Layering and tearing unfold across the body, articulating a tension between occupation and absence. The garments no longer merely cover, but enact gestures of taking—partial, unresolved, and continuous. These attached and appropriated forms belong to others, yet have already been absorbed into the self. As excess accumulates upon the body, what emerges is not abundance, but an inescapable residue—Excess

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