Tsai Jung Chiang

I hold a BA in Fashion Design from Central Saint Martins College of Art and Design. My studies at Central Saint Martins specialized in womenswear design and printed textiles. The use of fabrics and silkscreen printing has since become one of the prominent techniques in my works. I have always wanted to work in the art and design industry since childhood. However, my childhood aspiration was to work as a Manga artist, which did eventually transformed into passions for dressing characters, leading me onto the path of studying fashion design.

My studio is based in Taipei City, Taiwan. The studio works across fashion, theatre costumes, printed textiles, and visual identity design. In addition to the design works, the studio is currently in the development of a fashion accessory brand.

For me, "design" resembles engagement and community, and a relevant solution to decoding problems.

I especially enjoy design projects with a research emphasis on historical and cultural value.

I have not had a most favorite design yet, but there were design projects I still find joy even years after completing it. An example is The Withering Flower, the printed textile collection I did in 2016. The concept behind the project was symbolic to me. The taboo in Chinese culture, as my childhood of growing up in different Eastern and Western cities, and the dilemma I encountered in recognizing my cultural identity. The silkscreen printing technique was another exciting challenge to overcome in this project, realizing the technical possibility in printing.

I initially worked at a couture house in Taiwan after college graduation. After working at the couture house, I started up my design studio in Taipei. The first project I designed was a collection of theatre costumes, and the theatre performance took place at Taiwan National Experimental Theatre in 2017. It was my first time working on theatre costume, and the entire process was a memorable experience! The co-working alongside the screenplay, theatre crew members, and the actors, the design experience was so vivid and alive. The costume designs would reflect every character's personal story and precisely coordinated with the stage and light design. The co-working process is like an orchestra, with every professional crew collaborated lively for exceptional performance.

My favorite material base is fabric, and my favorite technique is silkscreen printing.

Physically is either early in the morning or midnight, sitting at my desk and facing a window of the cityscape while thinking. Intellectually is the stage during, and after reading novels, I enjoy freedom in visualizing words in the mind.

I usually focus a larger time ratio on the conceptual phase. The concept requires in-depth research to fuel the realization.

Interestingly, it is the emotions of constant criticism I had for myself. The design process generally is not about feeling optimistic. Instead, it is more about imaging the most difficult struggles that I might encounter.

A void actually, it felt like there could always be room for improvement.

The design should naturally engage people without too many further explanations. It should be a part of the people and the community.

I think about the design, whether as relevant or not. I reckon a design is "good" if it is connected to the people and making an impact on the community.

Be responsible and considerate of the messages we communicate through designs. Be conscious of the material and technology we implemented and its impact on the environment.

My last exhibition is at the Taipei Free Art Fair, taking place in Taipei City in December 2019. I am currently planning on holding a solo exhibition next year, after my further development of printed textile installations.

Most of my contextual inspirations come from cultural studies, as well as Chinese literature and poetry. Reading is an excellent source of inspiration. The inspirations for design realization come from approaches to find questions, through observation of the people and the community's behaviors and needs.

The applying of plant and floral motifs is one of the main characteristics of my design approach. I find the topics about life's transience impactful in my design. The use of symbols representative of life's inevitable cycle, as well as the power in begetting new lives, has always been a prominent aspect in my work.

I was born and raised until 15 years old in Taiwan before moving to Canada to study in high school. I later went on to college and lived in the UK for five years before moving back to Taiwan for work. Recently I traveled frequently between Taiwan and Malaysia for studio works. The diverse cultural heritage I experienced and gradually embodied in my works over the years is precious to my core identity.

The process began by looking at potential questions that occurred and then looking for solutions. The research phase would take up intense schedules from contextual, academic, to philosophical fields.

I usually started sketching after initial research. Hand sketching is an efficient method to capture visual ideas quickly. A typical toolbox will include a pencil, 0.28 black pen, charcoal, and oil pastel. After the initial sketch phase, computer software like Adobe Photoshop and Illustrator are my most frequently used tools.

I enjoy working on art installations because they extend from object to space, and it is an exciting process to put ideas and realizations to the test.

I am planning to start an accessory brand in the future, with a core material based on printed textiles and original pattern library. I am also working on developing The Withering Flower collection. I am looking forward to building larger-scale art installations with the textile technique, and further developing the contextual studies on ideas of the abject in Chinese culture.