借來的眼，原生的手

在前一季《Borrowed Eyes, Native Hands》中，tamen: 直面觀看如何形塑身體與服裝的理解方式。
2026AW 則從觀看之後開始，將焦點轉向：當圖像被理解、被消化之後，衣服與身體各自站在什麼位置。

在2026AW 的設計不再追求姿態的宣告，而是建立在結構已完成的前提之上。
剪裁與比例在製作階段便已確立，使衣服在被穿上時自然成立，穿著者無需透過堆砌或修飾來完成樣貌。

面料的處理同樣提前完成。洗、烘、染等後整理所帶來的皺褶、鬆弛與色差，
並非交由時間慢慢生成，而是在製作端已被測試並固定。

設計將不確定性留在製作過程中，讓穿著者拿到的是一個已經穩定下來的時間狀態。
「結構之後的位置」並非立場宣示，而是一種存在方式——衣服與穿著者各自完整，保持距離，也共享節奏，在日常之中持續成立。

 

Following “Borrowed Eyes, Native Hands”, which examined how vision shapes the understanding of bodies and clothing, 
2026AW begins after seeing—asking where garments and bodies remain once images are absorbed and replaced.

Built upon completed structure, cut and proportion are resolved during the making stage, 
allowing garments to naturally stand on their own without reliance on styling or adjustment.

Material processes are finalized in advance. Wrinkling, slackness, and tonal variation are tested
and fixed before completion, delivering a stabilized temporal state rather than a garment awaiting change.

“Holding Position” describes not a declaration, but a mode of existence—
where garments and bodies remain distinct, yet move together in everyday life.