+886 932 455 574 399, Sec. 2, Minsheng Rd., #21C Tainan City 700, Taiwan rachelxchuang@gmail.com
Applying for admission of student exchange into RMIT University
Jul/2013 Sep/2013
Full-time design intern at Jason Wu Studio, NYC, USA Duties included running errands, sourcing for materials, making sample swatches. Teamwork with designers, technicians through out the season broadened me, understanding of procedure in fashion industry.
Dec/2012 Jun/2013
Sales assistant at Club Designer, Taipei, Taiwan Responsible for assisting customers in the selection and purchase of items, paying specific attention to detail, as well as, listening attentively to their needs. While facing customers on the frontline, rather then in the studio, I learnt the desire and need from consumer’s view.
Jun/2011 Aug/2011
Volunteer in Global Trainee NGO, Jaipur, India Participated in the analysis of identity problems; advocating women rights in remote villages. Working with a team of volunteers from different nations broadened my horizons, strengthened my language skills, , and improved my interpersonal communication especially when facing different characters.
Sep/2010 Present Feb/2014 Jul/2012 Jul/2010 Aug/2007 Jul/2008
2012 2012 2011
Bachelor of Fashion Design, Shih Chien University, Taipei, Taiwan
Language
IELTS/Band 7 TOEIC/840
International Design Workshop : Dai Fujiwara x SCU Department of Design Summer course, Central Saint Martin, London, UK Summer course, F.I.T, New York, USA Rotary Exchange program, USA
Mandarin Native English Fluent
Taiwanese Conversant German Basic Computer
Illustrator Photoshop InDesign MS Office Knitting Picasso
nominated Excellence, School Fashion Week Competition nominated Excellence, ASUS Laptop Cover Design nominated Excellence, DIESEL T-Shirt Design
_1 _2 _3
ME COLOR HUNTING RECREATE
_4
MATERIAL
1
CHAPTER
ME
middle TENDENCY 人，不會忘記。所謂的忘記，只是 想不起來而已。所有在生活周遭的 一切，視線所及、耳膜可聞、鼻腔 可嗅、蓓蕾可嚐的一切的一切，都 會深深烙印在腦中，留下痕跡。而 那些造成自我靈魂改變的事件，事 件刻劃的傷口，傷口產生的痂，無 論癒合與否，都將永遠，永遠地， 留在腦葉之中。
就像樹紋一般。
生命中，有許多渺小的傷口，刻意 去想起他們實乎有些小題大做，無 病呻吟，它們沒有被留戀的必要 ; 也有些巨大的創傷，難以痊癒。無 論過了多少歲月，仍化著膿，不斷 地在節痂與脫落的過程中擺盪、輪 轉 。而生命中，也有那種，被活 埋的傷痛，在絕望中，忍著痛，硬 生的覆蓋它，上了一層又一層的 鎖，讓它在黑暗的毀滅之中，成 長，而後死亡。 但它沒有。 它茁壯、膨脹，無時無刻刺激著我 那名為慾望的神經。 它是我性向錯亂的基因，我內心畸 形的怪物。 我愛女人。 我愛她們膧體的曲線，愛她們充滿 靈性的眼，愛她們豐厚柔軟的唇， 愛她們溫柔細膩的聲音，愛她們散 發的費洛蒙，愛她們炙熱深情的內 在，愛她們難以捉摸的心。 但我不該愛她們。 而，我也是女人。
2 CHAPTER
COLOR HUNTING
“Biology give brain. Life tu mind.”
es you a urns it into a Jeffrey Eugenides, Middlesex
它睜開它的眼，與我 的視網膜重疊；它打 開它的耳，佔據我的 聽覺神經；它皺了皺 它的鼻，控制了我的 鼻黏膜內的嗅覺毛細
胞。
我 打 的 皺 的 細
而我們溺在 那城牆倒塌 後堆積的殘 破之中，存 在
在 塌 殘 存 在。
3 CHAPTER
4
CHAPTER
透 / 過 滋長 / 無垠的水波當中。 半透明的透明，空洞 / 一圈緊挨一圈 沒有所謂正與反，善與惡，對與錯 / 我這樣發現。 只有受傷後被迫衍生出來的柔軟，與一些突變種的 剛強。
experience MATERIAL
5 CHAPTER
The cultural grandeur of The Western
ZHOU Dynasty
The great sage Confucius once lavishly praised the Western Zhou dynasty, saying “How culture flourished! I follow Zhou.” The Western Zhou (1046 B.C.E. – 771 B.C.E.) developed a magnificent civilization upon the legacies of the Xia and Shang dynasties. It would exert a profound influence over 2,000 years of political and cultural development, and would ultimately shape the norms, morals, and customs of ancient China and the countries of East Asia.
三星堆雕像
The Zhou were adept at farming, and had well established themselves in the Shaanxi Guanzhong area by the twelfth century B.C.E., around Qishan, Zhouyuan, and the Jing and Wei rivers. Building up their strength, the Zhou eventually brought together a coalition of tribes to launch an expeditionary force that overthrew the Shang dynasty around 1046 B.C.E. The Zhou King Wen established his capital, Fengjing, on the west bank of the Feng River in what is now Xian City in Shaanxi.
The Zhou King Wu moved his capital, Haojing, to the east bank of the river, where it went on to become “Zong Zhou”, the political capital of Western Zhou. The Zhou gradually expanded to the lower reaches of the Yellow River and the mid-regions of the Yangtze, laying the foundation for an 800-year dynasty spanning the Western and Eastern Zhou periods. After overthrowing the Shang, the Zhou proposed the “mandate of heaven”, forging the basis for a moral
code of ethics that served to check and balance the power of rulers. In order to effectively govern their vast territories, the Zhou adopted the feudal system, granting fiefdoms and establishing systems for defense and administration. Exemplified by the sacrificial worship held at the ancestral temples, the patriarchal system, with its clear hierarchy and complex rites for the granting of titles, the bestowing of gifts, the payment of tribute, the seeking of audienc-
es, the exchange of presents, and the arranging of intermarriages, served to regulate the smooth execution of rights and duties dictated by the feudal system. By the middle to late Western Zhou, sets of bronze and jade ritual artifacts designated for specific hierarchical ranks, and bronze vessels with long engraved texts extolling the virtues of particular clans and families, all bore witness to the maturity and stability of the Zhou ritual system.
Heavily populated with Zhou nobles and graced with the presence of innumerable ancestral temples carefully maintained over the generations, the Shaanxi Guanzhong area is where people pay tribute to the cultural grandeur of the Western Zhou dynasty. In order to showcase the contributions made by the Western Zhou to Chinese history and culture, this exhibition has coordinated the lease of many rare and important artifacts from the archaeological and conservational institutions of Shaanxi, including the collections of the Wei and Shan clans, the funerary artifacts of the Yu and Ruei states, and articles recovered from the archaeological site of the Temple of the Duke of Zhou. Oracle bones, jade artifacts, and vast numbers
of bronze vessels with long engravings support the lineage and history outlined in historical texts such as the Shiji, Shangshu, Shijing, and Guoyu, in addition to offering insights into the concepts and merits of the Zhou patriarchal and ceremonial systems. The bronzes, gold ornaments, jade and stone artifacts, glassware, pottery, and porcelain displayed in the exhibition are more than just mundane objects and luxurious ornaments or ritual vessels for summoning gods and spirits and preparing for offerings and sacrifices; they represent a living testimony to the craftsmanship, technology, and aesthetic achievement of the Western Zhou dynasty.
Copyright Š National Palace Museum. All Rights Reserved.
PROCESS 這次去故宮前，刻意 不先上網收尋關於故宮這次特 展的報導與內容。因為我希望 去看展，得到的是第一、直 接、原始的印象。我喜歡這個 鼎，那個盤；或我喜歡這個玉 器，那個玉環…都是因著自己 在當下的看到現場文物，而引 發的愛好或厭惡。而不是因為 它有什麼樣「四大明盤」或 是「明星重器」。 其中尤其吸引我的是芮 公大墓M27，以模型重現考古現 場棺室模樣，指出每個文物的擺 放於屍體的位置，用以顯示該物 件的重要性、功能性、裝飾性， 釐清建構西周政經發展與藝術文 化成就。多項雕琢精美的玉器之 中，我尤愛玉琮，它是一個方柱 中間穿透切穿著圓柱。特別喜 歡這樣方正之中，卻有個圓去完 整、去輔佐整個造型。另外玉配 與玉環也是我很喜歡的物件，玉 配豐厚的色澤，蒼白之中帶點 翠綠的紋路，配上珊瑚紅的煙 燻紫的串珠，其顏色之唯美！
周人靈活的運用了多 元的想像力。春秋早期的「石 人」，其五角形的頭部造型與 眼睛比例都讓我聯想到外星 生物。以及男女銅人眼神與姿 態的活潑很令人喜愛。多種 人龍玉飾，或玉鳥，以及其 上頭的刻紋充滿的想像力。 各式各樣的鼎、簋、 鬲，都讓我聯想到服裝版型上 不同的剪裁方式。在剪接線進行 轉移，或色塊上的拼接，都可以 成為重要的元素。甲骨文的線 條也能拼湊出無限多種可能。 從鼎或尊先作為輪廓線 的發想，在與雕紋或甲骨文做細 節上的結合。顏色的選擇上， 則不會取用這裡的元素，而是 用流行趨勢分析裡面的色彩趨 勢，進行搭配。在輪廓上，可能 有方形、三角（不是三角形） 圓形，但若要配合明年的流行 度，我想圓形可能是最好的選 擇。而正好西周文物中有許多 圓形的造型。而線條方面則可 以結合未來感，使用線性的造 型可能搭配顏色為螢光色系。
6 CHAPTER
se
lf
co
nv
er
sa
ti
on
wi
th
師 大 / 之 於 我
是層次的新與舊
多處施工單位散落基地上， 新建的大樓落林於那些圍牆 剝落的老舍旁；重新粉刷 組裝 裝潢的商店，一間接 連一間；對街是夜晚霓虹燈 亮起後才開始營業的小吃舖 子，上頭標示三十年老店。
太陽偏至地球另一頭後的夜 晚，人造燈一盞一盞的開。 住宅裡隔著紗窗玻璃，白 幟燈燈昏昏沉沉的照著街 坊；外圜吆喝喧鬧人群擁 擠的商圈，五彩的色光， 熱情的無奈的亮成一片。 人群的步伐與聲音將入夜 後的師大，分為兩邊。 天又亮起，這裡的活動堆 疊 沈積 左右相撞 上下 交疊著，中間夾著慾望。
7 CHAPTER