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I was born in Malaysia - a multiethnic and multicultural nation that facilitates a mixed society. Its diversity make me a keen observer of colors, patterns and essence. I have the abundance recorded in my drawing journal for years. I used to collect old clothes from family members and relatives where I could cut them into many small pieces and wrapped around my dolls. The doll’s wardrobe was rather flamboyant compared to mine. In my teenage years, I realized the doll's wardrobe could no longer make me happy. I started fantasizing it becoming mine, or perhaps someone’s wardrobe. Those thoughts reflected in my earlier work – Madness of Ophelia – the tragic fantasy contained unlimited. I came to London - a cosmopolitan city filled with abundance of inclusion. I started structuring the wardrobe by looking at the distinction of the East and the West, of the ethereal and the ground. ‘Blossoms’ and ‘Reform the Forbidden City’ were finale of 3years studies at London College of Fashion. The draw and cut and play of a graduation wardrobe eventually came true under proper pattern cutting tables, industrial sewing machines and many sleepless nights struggling with homesickness. After London, I had been through a few career relocations and often travelling for work. From London to Penang, Shanghai, Kuala Lumpur, New Delhi, Mumbai, GuangZhou, Hong Kong and Cambodia, I lived like a nomad for a decade. From a fresh fashion graduate to a fashion designer then tutor then design manager, I see the wardrobes getting excessively overloaded and messy. I came to Goldsmiths College in 2015, with 10kg of fabric waste and yarn ends left behind from current wardrobes. I had them rejuvenated into raw materials - yarn balls and lengths of cloth. I call it - The Storytelling Wardrobe - a metaphoric repercussion narrating off-cuts and yard ends collected from landfill in mainland China and workshop in London are being intertwined as one media of aesthetics.Locked Pro Plan feature
The Storytelling Wardrobe … a mnemonic that connects into the past. I came to MA Fashion at Goldsmiths, University of London with 10kg of fabric waste and yarn ends left behind from current wardrobes. I had them rejuvenated into raw materials. They are yarn balls and lengths of cloth made by mixture of fabric waste and yarn ends. I call it - The Storytelling Wardrobe for introducing storytelling as an agent to propose fabric waste and yarn ends as a medium of illustration while weaving loom and tools as alternate options of paint brush or crayon to tell the revival of the past in the current wardrobe to be reincarnated to the future wardrobe.
Blossom ... a reflection of raw and random wardrobe of the African farmers under Jackie Nickerson’s lens. The abundance of their wardrobes flourished by reusing expired wardrobe from the developed countries.
The storytelling wardrobe explores Roland Barthes theory of textiles as a vital signifier of meaning within fashion, to combine weaving practice with historical analysis of an item within my own wardrobe – a sarong. The focus of this project has been on embodiment through both the making of cloth and the wearing of lengths of fabric (or sarongs.) During this project I developed a method of weaving from my own yarn balls that are made by spinning cloth and yarn ends together. The project proposes the passing-on of traditional dressing rituals and of slowly crafted textiles where each piece of fabric is intertwined with time and memory. http://golddesignfest.co.uk/fuen-chin/ http://www.londondesignfestival.com/events/goldsmiths-design-fest