Portfolio W16

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    All the fashion drawing, illustration, monogram, and written context were designed by William Chang for the school or personal project. The software used includes Adobe Photoshop, Illustrator, InDesign, and Corel Painter. Visual contents (photos and pattern) that are not taken by William Chang includes the picture in the p.7, Helmers design taken in 2013 MMS, pictures from the internet, p.17 & 23.

  • VTable of Content

    Table of content..........................................5


    My design philosophy & thought........................................................7 What is fashion to me; fashion as a game, we play fantasy, we create meaning............................7 Emotional attachment, mental function, and our love of fashion......8 Previous works....................................................9 Witch Folk......................................................10 Harajuku Gals....................................................16 Tokyo Rebel...................................................22 Technical design..................................................28

    Contact information........................................................31

  • VI

    I loved design from very early childhood. I would draw costumes, machines, buildings, robots, bicycles, shoes, decorations feeling like I could improve upon almost everything. I was frequently astonished by the beauty of things; I watched some stunning music videos again and again, as if I wanted to etch all the beautiful moments into my brain. I was 17 when I decided to devote all my energy into building a career in the fashion industry. Immediately following high school I started a degree in Fashion Design; I excelled at fashion illustration, research and trend analysis. Once I graduated, I looked for opportunities in fashion marketing and sales because I had a vision that I would like to become a figure like Pierre Berge. I was determined to develop my market knowledge and considered working in sales to give me the chance to talk directly with customers of luxury goods. But I soon realized that I might be on the wrong track because most of the fashion companies in Taiwan dont even have a marketing department. I didnt have a chance to do what I really want to do and after a few attempts I decided that I should take a step back and rethink what I should do to achieve my goal. I took time to travel the world and think about how I wanted to shape my career in fashion. Then in 2010, I decided that I wanted to study business and use that knowledge to shape a career in fashion. The MBA program at Concordia University gave me a way to combine design with business knowledge. I wanted to learn more management skills and develop a deeper understanding of marketing, a powerful tool that I can adopt in my fashion career. My MBA experience was rewarding but it made me recognize, I still love design so much, I still want to create, and I still want to see people enjoy the work that I create. After a fairly long round trip, I am back to where my dream started, I want to design. At this moment I know, if I dont pursue this right now, I will not fulfill my fullest potential.



    Emotional attachment, mental function, and our love of fashion

    In the 1960s counter-culture styles flourished in the disorder of social change underway in the US when many questioned the highly centralized conservative values of the past. Punk was born in Maggie Thatchers economically depressed Britain as the system offered little but aggravation and many had lost hope. During the striving of the space era, futuristic fashion suggested that the entire western world was nurturing the space dream. Fashion is a mirror that reflects the emotions of the society at large. Yet thats only at the macro level. From a personal perspective, a heavy wool overcoat may triggers our memories of skating on a frozen pond when we were a child, a specific patch on a jacket forever associates us with a certain group, and maybe a wraparound dress reminds us of our prom in high school. Thats why every single item is meaningful to us, theres an emotional attachment which links us to the piece of cloth, not only psychologically, as a part of our personal story but theres also the connection to the public story.In fact, fashion items provide emotional satisfaction and perform a mental function even when they dont initially have any attachment. People express their emotion by choosing the items that connect to their secret emotional need, consciously or subconsciously. A hand bag satisfies a womans need for security by giving her a solid object to grab. Sun glasses also offer protection by prohibit other people from reading our facial expression. Short skirts on the other hand, provide a partial nudity that increases personal attraction. In the movie ten things I hate about you, Bianca tells Cameron that Kat is expecting a relationship because Kats wearing a black panty, it was the colour of this private item leaks the secret of Kats intentions. This, the connection between fashion/apparel and personal life, gives me so many ideas, motivation, energy to work as a designer. Because I know that designer is not a passive role, designers can nurture, create, enhance, and manipulate these emotions, making dressing an interesting strategic game. And yes when we look at the fashion creating process, we do see those phenomenal designers imbedded their own emotion, fantasies, dreams, progressive ideas, into their works; it is a job that weaves the dream and communicates with the memories of all humanity. As a designer I might give people a fairy tale, a bittersweet romance, or a cool, sophisticated film noir; I can give them fantasy.

    I think we just wanted to be a part of the lifestyle. The lifestyle that everybody kinda wants. said by Mark, the character in Sophia Coppolas newest movie the Bling Ring.

    While I am chasing my dream, Id love to create dreams for other people.

  • VIIIMy Design




    & Th



    What is Fashion to me; Fashion as a game: we play fantasy, we create meaning

    What you wear defines who you are. Anon

    Nope. Id rather say what you want to BE defines what you wear.If we think about it, does clothing have a deeper purpose for society? Does fashion mean anything or is it merely a system that encourages us to consume? For the first question, I believe the answer is definitely yes, but what is the purpose, or the purposes? I do believe in French sociologist Pierre Bourdieus view that taste (include how people prefer to wear their clothing) is an important social function and costume or apparel is a tool we use to improve our position in society. It sounds very simple, dress for success, but more importantly, his theory suggests that dressing itself, is a game. By obeying a dress code a person can win. Adopt the right style and get a pass into an exclusive social circle, or even achieve status. But then what is the meaning of fashion? Or what is the potential purpose of the fashion system? We may need to consider it from quite a different perspective.To Roland Barthes, the French literary theorist, fashion is a system that creates meaning, a semiological system. In his work The Fashion System, he demonstrated that any sign could be easily translated to words and explained how these words could be used to emphasise a trend idea; people constantly create new meaning through manipulating the symbols, connecting fashion objects with the trend, or even misusing of ideas. If we dig deeper into this ideology, these meanings build want, appetite, and desire; they reveal the fantasies of our society. So, to a certain degree, the nature of fashion is a costume play, and apparel is the instrument for this mass reality game. We become somebody by dressing the part, embodying the real fantasy. And what does this mean to the designer? I supposed that the responsibility of a designer, is to fulfil the dream, the desire to be somebody. People are crazy about the Hermes Birkin Bag for a reason, possessing this item is the easiest way to associate a nobody with their desire to play prince or princess royale. So we should, by all means, do our best to satisfy this yearning by designing the objects which manifest in solid visible form these attainable dreams. Thats what I want to do. What dream is better than to help people their own dreams?

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    Why is folk style always related to hippies, female, country, and bohemia? Why isnt folk cool? Why dont we mix folk with other styles? Have we explored the possibilities of this style widely enough? Intrigued by these questions, I embarked on research into voodoo, shamanism, witchcraft, and black magic - while listening to The Knife, Royksopp, and Macklemore. I decided that I should try to put these together the Djing, the styles, black magic elements and symbols and let alchemy mix a fresh folk style.

    Witch Folk

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    Black is obviously the pr imary co lour to use for a co l lect ion which is assoc ia ted w i th w i tchcra f t . But s imp ly us ing a l l b lack does not give the col lect ion any depth and complexi ty. Other colours used in this series include pure white, l ight grey, br ight yel low, cr imson red, and blue, and give the designs a l i t t le bit tradit ional folk connection.

    In terms of texture, this collection is based on the traditional bohemian image; soft, comfortable, flowing and silky. But in order to giving some contrast and var iety, kni t wear, cot ton, leather are also introduced.

    The (duplicated) animal skins and replica skulls are something I co