"Textile Jewelry"《織物首飾》

《曲折姿態》
若要將平面的紙張轉化為立體摺紙結構，必須考慮山谷線摺痕、曲線張力走向要素。此外，一般紙張屬於無彈性的纖維製品，對應到本設計上，利用織紋的不同方向性配置於織物表面，便自然產生能折曲面體的山谷線功能。在經常性的摺紙技法中，大多人理解停留在直線。與織物不同的是，急速彎曲或不規則的弧線曲面造形，有時會因紙的無彈性而產生皺折。然而苧麻纖維本身具有柔韌挺度，但織物的柔軟度與表面張力引導出的不規則立體曲線更為彈性，依據配戴者本身的身體曲線，思考更自由隨興的造形應用變化。

同時，大眾認知的織物，外形一般具備整齊的布邊，設計上試圖打破這樣的傳統外廓，尤其苧麻的柔挺度，加上薯榔染色功能富含單寧酸與膠質，因此增強纖維韌度與防腐效果，非常適合搭配光影呈現線條虛實交錯的空間美感，表現從線延伸到面的過程，是物質再空間的轉換。

《異色浮雕》
雙層織物具有正反面翻轉與鏡面性，搭配不同顏色經緯紗，造成正反面異色的效果。設計中便利用其翻轉特性，進行色彩交錯變化。同時，經緯點交錯下產生的節點，也為設計上帶來更具開合功能的可能性。經緯交錯也不單應用於作品本身的立體造形外廓，在織物的布面表現中，亦運用了該技法，正反層中產生圖樣的封閉性空間，加上夾心填充物，產生具有凹凸起伏的獨特質感。
造形設計上，則擷取了來自大自然海洋的靈感，波光粼粼的海面與浮游的氣泡，對應了染材薯榔是具有強烈日照印象的作物，象徵台灣本土的陽光海島色彩。

"Folding Gestures"
To transform a flat sheet of paper into a three-dimensional origami structure, one must consider elements such as mountain and valley fold lines and the directional tension of curves. Paper, as a non-elastic fiber product, poses certain limitations. In this design, the directional arrangement of woven textures on the surface of the fabric naturally creates mountain and valley lines that facilitate folding into curved surfaces. While most origami techniques rely heavily on straight lines, irregular curves or sharply bent surfaces in paper often result in creases due to its lack of elasticity. In contrast, ramie fiber possesses both flexibility and stiffness. The fabric’s inherent softness and surface tension allow for more elastic and irregular three-dimensional curves. This flexibility encourages spontaneous and organic shaping that adapts to the wearer’s body contours, promoting a freer approach to form.

Furthermore, traditional perceptions of fabric often involve neatly finished edges. This design seeks to break away from such conventional outlines. The stiffness of ramie, combined with the tannic acid and gelatin-rich properties of yam dye, enhances the fiber’s durability and resistance to decay. These qualities make it particularly suitable for integrating light and shadow to create a spatial aesthetic where lines interplay with planes. This approach highlights the transformation from line to surface, a conversion of material into spatial expression.