Bronze Costume and Heritage Wear Design · 2026
Foam of Desire Clothing Design
by Kaiqi Zhang
- A' Design Award 2026 Bronze Winner in Costume and Heritage Wear Design
- Awarded April 15, 2026
- Estimated Number of Design Views: 12,045
- Verification code 3E813B933A · Verify this award
About Foam of Desire Clothing Design
Grounded in a critique of the desires and emptiness that define modern consumerism, this piece uses garment design to interrogate the alienation festering within material wealth. It reimagines seventeenth century aristocratic attire, shaping a moldable fabric into a voluptuous silhouette that mimics a body devoured by desires. A palette of turquoise blue, clashing with sweet pink and sickly yellowish green, creates a superficially alluring yet deeply disquieting effect. This tension invites viewers to contemplate the nature of desires.
Kaiqi Zhang's Foam of Desire Clothing Design engages the rich historical lineage of theatrical costume while asserting a distinctly contemporary vision of fashion as sculptural transformation, positioning itself within traditions that trace from Commedia dell'arte performance dress through Rococo aristocratic excess to late twentieth and early twenty-first century avant-garde designers who challenge the conventional boundaries between garment and architecture, textile and sculpture, the work demonstrates exceptional technical facility in pattern engineering and structural textile manipulation, achieving voluminous forms that appear to defy gravitational logic through careful internal support systems and material selection, the exaggerated ruffled collar encircling the figure's head recalls both the cartwheel ruffs of Elizabethan nobility and the stylized costume conventions of theatrical archetypes like Pierrot, while the chromatic intensity and triadic harmony of cyan, pink, and chartreuse suggest dialogue with Pop Art's embrace of commercial color and contemporary digital culture's candy-hued aesthetic vocabularies, the compositional achievement lies in the successful integration of extreme decorative complexity with underlying structural clarity, as the spherical ornaments distributed across balloon sleeves and trouser legs create rhythmic visual pathways that guide the eye through the elaborate surface while reinforcing the three-dimensional volumetric construction, passages of particular accomplishment include the multiple overlapping peplum-like fabric eruptions that transform the torso into a flowering architectural form and the pleated chartreuse skirt element that introduces luminous contrast against the cooler cyan and warmer pink dominants, the designer's formal choices serve to reimagine the human body as a site for additive sculptural intervention, each textile layer and dimensional embellishment contributing to a cumulative effect of joyful excess that nonetheless maintains sophisticated chromatic and compositional control, thematically the work appears to explore the liberating potential of dress to transform identity and presence, celebrating costume's capacity to create alternate personas and amplified visibility, the design evokes historical moments when fashion served as theatrical spectacle and social communication through exaggerated silhouette and opulent material display, while simultaneously engaging contemporary conversations around fashion's evolution toward conceptual art practice and the designer's role as sculptor of space around the body, the abundant spherical ornaments might reference both historical slashing techniques that revealed underlayers through cuts in outer garments and contemporary additive decoration strategies, while the color choices suggest influences ranging from eighteenth-century pastel palette preferences to twenty-first century digital native aesthetics, viewers are invited to consider how costume functions not merely as body covering but as transformative architecture that reimagines human scale and presence, to contemplate the relationship between historical dress codes and contemporary creative freedom, and to reflect on fashion's capacity to generate wonder through the marriage of meticulous craftsmanship and imaginative vision that pushes beyond practical function toward pure visual delight.
Press Kit
- Unique Properties
- Inspired by Epicure Mammon from The Alchemist, this piece reimagines European aristocratic attire from the 17th century to question the concept of decadent luxury. Using a specially engineered moldable fabric, the garment swells into a bloated silhouette reminiscent of bubbles, evoking bodies consumed by desires. Vivid turquoise blue and pink create a visual allure that is both jarring and seductive, with a sugary quality that prompts viewers to reflect on overconsumption and inner emptiness.
- Dimensions & Packaging
- approximately 175 centimeters high, 140 centimeters wide and 80 centimeters deep
- Tags
- Clothing Design, Materializing Desires, Material Experimentation, Visual Metaphor, Irregular Forms, Visual Tension
- Production Technology
- A specially engineered moldable fabric, adhesive when wet, allows for intuitive hand sculpting of volumetric forms. By laminating foam into the fabric and injecting air, this approach creates irregular organic bubbles with a unique hybrid texture, which is both translucent and semi rigid. When illuminated, these forms look like a second skin, materializing the concept of internal collapse festering beneath a surface of opulence.
- Design Challenge
- The key challenge was to lead viewers from visual seduction to psychological unease, and the answer lay in color use. A rational turquoise blue base is invaded by lush pink accents that embody swelling desires, while traces of sickly yellowish green underneath hint at decay and exposure. The contrast between high saturation and low brightness, paired with matte and pearly finishes, creates a tension between a sweet appearance and hidden unease, turning initial allure into disquieting reflection.
- Project Duration
- The project commenced in October 2023 in London, United Kingdom. The initial toile was completed in December 2023, and the project concluded in March 2024 with the completion of the final garment.
- Operation Flow
- This work redefines clothing from a mere covering for the body into an aggressive entity that devours it. The doublet, with its dramatically exaggerated chest and shoulders, achieves a swollen, voluptuous contour that makes inner desires visibly manifest in the flesh. The asymmetrically reshaped ruff collar, when illuminated, casts an encircling shadow, mirroring the confinement in a prison built from greed and vanity.
- Research
- This work critiques the consumerist era by framing its core maladies: swelling desires and inner voids. Using the structure of seventeenth century aristocratic attire, the piece presents bloated, bubble like forms that symbolize a body consumed by insatiable desires. Jarring color combinations then guide viewers from visual seduction to psychological disquiet, ultimately revealing the spiritual barrenness hidden behind a luxurious facade.
- Inspiration
- This piece takes its cue from Epicure Mammon, an embodiment of insatiable desires in the play The Alchemist. It deconstructs the symbolic language of seventeenth century aristocratic attire to pose a question about beauty in excess. Each element becomes a visual narrative around the body, speaking of desires that swell, promises that prove false, and the inescapable reality of decay.
Colors of Foam of Desire Clothing Design
Design Interview about Foam of Desire Clothing Design
The main idea behind *Foam of Desire* was to visualize desire as a physical condition rather than an abstract emotion.
The project was inspired by Sir Epicure Mammon from Ben Jonson's *The Alchemist*, a character whose obsession with wealth, pleasure, and excess ultimately becomes self-destructive. I was interested in translating this psychological state into a wearable form. Instead of illustrating greed through symbols such as gold or jewels, I wanted the garment itself to embody the process of accumulation, expansion, and decay.
The design draws from seventeenth-century European aristocratic menswear, particularly the silhouette and construction methods documented in Janet Arnold's *Patterns of Fashion*. I retained recognizable elements such as the doublet, trunk hose, and ruff collar, but exaggerated and distorted them to create an unstable and excessive body.
A major source of inspiration came from the contrast between attraction and discomfort. I wanted the costume to appear seductive at first glance, with bright colors, translucent surfaces, and luxurious volume. However, upon closer inspection, the inflated bubble-like structures begin to resemble organic growths, creating a subtle sense of unease. This tension reflects the central concept of the work: desire is attractive precisely because it conceals its own consequences.
The title *Foam of Desire* refers to this unstable condition. Foam is beautiful, light, and expansive, yet temporary and fragile. It grows rapidly, occupies space, and eventually collapses. In many ways, I saw it as a metaphor for unchecked desire itself.
Ultimately, the project explores how beauty, excess, and decay can coexist within a single form, transforming a historical costume into a contemporary reflection on human ambition and longing.
The project was inspired by Sir Epicure Mammon from Ben Jonson's *The Alchemist*, a character whose obsession with wealth, pleasure, and excess ultimately becomes self-destructive. I was interested in translating this psychological state into a wearable form. Instead of illustrating greed through symbols such as gold or jewels, I wanted the garment itself to embody the process of accumulation, expansion, and decay.
The design draws from seventeenth-century European aristocratic menswear, particularly the silhouette and construction methods documented in Janet Arnold's *Patterns of Fashion*. I retained recognizable elements such as the doublet, trunk hose, and ruff collar, but exaggerated and distorted them to create an unstable and excessive body.
A major source of inspiration came from the contrast between attraction and discomfort. I wanted the costume to appear seductive at first glance, with bright colors, translucent surfaces, and luxurious volume. However, upon closer inspection, the inflated bubble-like structures begin to resemble organic growths, creating a subtle sense of unease. This tension reflects the central concept of the work: desire is attractive precisely because it conceals its own consequences.
The title *Foam of Desire* refers to this unstable condition. Foam is beautiful, light, and expansive, yet temporary and fragile. It grows rapidly, occupies space, and eventually collapses. In many ways, I saw it as a metaphor for unchecked desire itself.
Ultimately, the project explores how beauty, excess, and decay can coexist within a single form, transforming a historical costume into a contemporary reflection on human ambition and longing.
My main focus was to transform an abstract idea into a physical experience.
Rather than designing a costume that simply represented greed or luxury, I wanted viewers to feel the seductive and overwhelming nature of desire through the garment itself. The project explores how desire expands beyond control, gradually consuming the person who pursues it.
One of my primary goals was to challenge the traditional relationship between the body and clothing. Historically, garments are designed to shape, decorate, or protect the body. In *Foam of Desire*, I wanted the costume to appear as if it was growing beyond the body and beginning to take over. By enlarging the doublet and creating inflated organic forms, the silhouette shifts from something worn by a person to something that almost possesses them.
Another important objective was to create a visual tension between beauty and discomfort. I wanted audiences to be attracted by the vibrant colors, translucency, and sculptural forms, but then gradually notice signs of excess, instability, and decay. This duality reflects the nature of desire itself: it is often most appealing at the moment it becomes most dangerous.
Material experimentation was also central to the project. I was interested in discovering how unconventional materials could communicate psychological ideas. The bubble-like structures allowed me to create a surface that feels luxurious, fragile, organic, and artificial at the same time.
Ultimately, what I wanted to achieve was a costume that functions not only as clothing, but as a visual metaphor. The work asks how far desire can expand before it begins to consume the person who created it.
Rather than designing a costume that simply represented greed or luxury, I wanted viewers to feel the seductive and overwhelming nature of desire through the garment itself. The project explores how desire expands beyond control, gradually consuming the person who pursues it.
One of my primary goals was to challenge the traditional relationship between the body and clothing. Historically, garments are designed to shape, decorate, or protect the body. In *Foam of Desire*, I wanted the costume to appear as if it was growing beyond the body and beginning to take over. By enlarging the doublet and creating inflated organic forms, the silhouette shifts from something worn by a person to something that almost possesses them.
Another important objective was to create a visual tension between beauty and discomfort. I wanted audiences to be attracted by the vibrant colors, translucency, and sculptural forms, but then gradually notice signs of excess, instability, and decay. This duality reflects the nature of desire itself: it is often most appealing at the moment it becomes most dangerous.
Material experimentation was also central to the project. I was interested in discovering how unconventional materials could communicate psychological ideas. The bubble-like structures allowed me to create a surface that feels luxurious, fragile, organic, and artificial at the same time.
Ultimately, what I wanted to achieve was a costume that functions not only as clothing, but as a visual metaphor. The work asks how far desire can expand before it begins to consume the person who created it.
I see *Foam of Desire* as the beginning of a larger body of work rather than a finished destination.
In the future, I would like to continue developing the ideas explored in this project through new materials, larger installations, and more immersive forms of presentation. The themes of desire, excess, transformation, and the relationship between the body and material culture remain subjects that I am deeply interested in investigating.
I am also interested in expanding the project beyond a single costume. The visual language developed in *Foam of Desire* has the potential to evolve into a broader world of characters, objects, and environments. I would like to explore how these concepts might exist within exhibitions, performance works, or interdisciplinary projects that combine costume, sculpture, and spatial experience.
Receiving recognition for the project has encouraged me to continue pushing the boundaries between costume design and contemporary art. I hope future iterations will further challenge traditional definitions of what a costume can be and how audiences engage with it.
Most importantly, I would like the work to continue generating conversations about beauty, consumption, and human desire. These themes are timeless, and I believe there are still many directions left to explore.
In the future, I would like to continue developing the ideas explored in this project through new materials, larger installations, and more immersive forms of presentation. The themes of desire, excess, transformation, and the relationship between the body and material culture remain subjects that I am deeply interested in investigating.
I am also interested in expanding the project beyond a single costume. The visual language developed in *Foam of Desire* has the potential to evolve into a broader world of characters, objects, and environments. I would like to explore how these concepts might exist within exhibitions, performance works, or interdisciplinary projects that combine costume, sculpture, and spatial experience.
Receiving recognition for the project has encouraged me to continue pushing the boundaries between costume design and contemporary art. I hope future iterations will further challenge traditional definitions of what a costume can be and how audiences engage with it.
Most importantly, I would like the work to continue generating conversations about beauty, consumption, and human desire. These themes are timeless, and I believe there are still many directions left to explore.
The development of *Foam of Desire* took approximately five months from the initial concept to the completed work.
Much of that time was dedicated to material experimentation. While the historical references and conceptual framework were established relatively early, the final visual language emerged through an extended process of testing and refinement.
The project is based on a special mesh-like material that becomes moldable when wet and retains its shape once dry. I combined this material with transparent plastic structures to create organic, bubble-like forms that appear to grow across the garment's surface. Rather than representing actual foam, these forms were developed as sculptural elements that could suggest expansion, accumulation, and transformation.
Because the behavior of the material could not be fully predicted in advance, many design decisions were made through hands-on experimentation. The final silhouette evolved gradually as different structures, scales, and surface treatments were tested.
For me, the project was not only about constructing a costume but also about discovering how material properties could communicate ideas. The five-month process became a dialogue between historical garment construction and contemporary material exploration, ultimately shaping the final form of the work.
Much of that time was dedicated to material experimentation. While the historical references and conceptual framework were established relatively early, the final visual language emerged through an extended process of testing and refinement.
The project is based on a special mesh-like material that becomes moldable when wet and retains its shape once dry. I combined this material with transparent plastic structures to create organic, bubble-like forms that appear to grow across the garment's surface. Rather than representing actual foam, these forms were developed as sculptural elements that could suggest expansion, accumulation, and transformation.
Because the behavior of the material could not be fully predicted in advance, many design decisions were made through hands-on experimentation. The final silhouette evolved gradually as different structures, scales, and surface treatments were tested.
For me, the project was not only about constructing a costume but also about discovering how material properties could communicate ideas. The five-month process became a dialogue between historical garment construction and contemporary material exploration, ultimately shaping the final form of the work.
*Foam of Desire* was not originally a commissioned project. It began as a university design assignment that explored the relationship between character, material, and visual storytelling.
During the early stages of development, I became increasingly interested in the figure of Sir Epicure Mammon from Ben Jonson's *The Alchemist*. His obsession with wealth, pleasure, and limitless consumption raised questions that felt surprisingly contemporary. Rather than treating the character as a historical figure, I wanted to explore how desire itself could be translated into form.
As the project evolved, it grew beyond the requirements of the original assignment. The material experimentation, historical research, and conceptual development opened possibilities that I wanted to pursue further. What began as an academic project gradually became an independent creative investigation.
The work later went on to receive Second Place in a costume design competition organized by the British Costume Association, which encouraged me to continue developing and presenting the project to wider audiences. That recognition confirmed that the ideas explored in the piece resonated beyond the classroom environment.
Looking back, one of the reasons the project became so important to me is that it emerged from personal curiosity rather than a commercial brief. It allowed me to take risks, experiment freely, and develop a visual language that combined historical costume, contemporary materials, and conceptual storytelling in a way that felt genuinely my own.
During the early stages of development, I became increasingly interested in the figure of Sir Epicure Mammon from Ben Jonson's *The Alchemist*. His obsession with wealth, pleasure, and limitless consumption raised questions that felt surprisingly contemporary. Rather than treating the character as a historical figure, I wanted to explore how desire itself could be translated into form.
As the project evolved, it grew beyond the requirements of the original assignment. The material experimentation, historical research, and conceptual development opened possibilities that I wanted to pursue further. What began as an academic project gradually became an independent creative investigation.
The work later went on to receive Second Place in a costume design competition organized by the British Costume Association, which encouraged me to continue developing and presenting the project to wider audiences. That recognition confirmed that the ideas explored in the piece resonated beyond the classroom environment.
Looking back, one of the reasons the project became so important to me is that it emerged from personal curiosity rather than a commercial brief. It allowed me to take risks, experiment freely, and develop a visual language that combined historical costume, contemporary materials, and conceptual storytelling in a way that felt genuinely my own.
At the moment, *Foam of Desire* exists as an independent artistic and experimental design project rather than a commercial product.
The work was created as a conceptual costume piece and has primarily been presented in exhibition and competition contexts. It was developed to explore material experimentation, historical references, and visual storytelling rather than for mass production.
That said, I believe the ideas, techniques, and visual language developed through the project have the potential to evolve into future collaborations. I would be interested in adapting elements of the work for exhibitions, performances, film productions, or other interdisciplinary artistic projects if the right opportunity arises.
My current focus is on continuing to develop the concepts behind the project rather than licensing it for commercial production. I see *Foam of Desire* as part of an ongoing creative investigation, and I am interested in how its themes and material approaches might expand into future works.
For now, the project remains artist-led and independently developed, allowing me to maintain creative control while exploring new directions for its evolution.
The work was created as a conceptual costume piece and has primarily been presented in exhibition and competition contexts. It was developed to explore material experimentation, historical references, and visual storytelling rather than for mass production.
That said, I believe the ideas, techniques, and visual language developed through the project have the potential to evolve into future collaborations. I would be interested in adapting elements of the work for exhibitions, performances, film productions, or other interdisciplinary artistic projects if the right opportunity arises.
My current focus is on continuing to develop the concepts behind the project rather than licensing it for commercial production. I see *Foam of Desire* as part of an ongoing creative investigation, and I am interested in how its themes and material approaches might expand into future works.
For now, the project remains artist-led and independently developed, allowing me to maintain creative control while exploring new directions for its evolution.
I was drawn to this type of work because it allowed me to combine several interests that have shaped my practice for many years: historical costume, material experimentation, character-driven storytelling, and sculptural form.
As a designer, I have always been fascinated by the idea that clothing can communicate complex ideas about human nature. Costume is not only something people wear; it can reveal ambition, fear, desire, status, belief, and identity. This project gave me the opportunity to explore those themes through both form and material.
I was particularly interested in creating a work that existed between costume and contemporary art. Rather than focusing solely on functionality or historical reconstruction, I wanted to investigate how a garment could become a physical metaphor. The figure of Sir Epicure Mammon provided an ideal starting point because his character embodies excess, obsession, and the pursuit of limitless desire.
Another reason I pursued this project was my interest in pushing traditional costume construction beyond its expected boundaries. By combining historical silhouettes with experimental materials and sculptural techniques, I was able to create a visual language that felt both familiar and unfamiliar at the same time.
Ultimately, this type of work appealed to me because it offered the freedom to explore ideas, materials, and narratives simultaneously. It allowed historical research, craftsmanship, and conceptual thinking to exist within a single piece.
As a designer, I have always been fascinated by the idea that clothing can communicate complex ideas about human nature. Costume is not only something people wear; it can reveal ambition, fear, desire, status, belief, and identity. This project gave me the opportunity to explore those themes through both form and material.
I was particularly interested in creating a work that existed between costume and contemporary art. Rather than focusing solely on functionality or historical reconstruction, I wanted to investigate how a garment could become a physical metaphor. The figure of Sir Epicure Mammon provided an ideal starting point because his character embodies excess, obsession, and the pursuit of limitless desire.
Another reason I pursued this project was my interest in pushing traditional costume construction beyond its expected boundaries. By combining historical silhouettes with experimental materials and sculptural techniques, I was able to create a visual language that felt both familiar and unfamiliar at the same time.
Ultimately, this type of work appealed to me because it offered the freedom to explore ideas, materials, and narratives simultaneously. It allowed historical research, craftsmanship, and conceptual thinking to exist within a single piece.
Rather than being influenced by a specific contemporary designer, *Foam of Desire* was shaped primarily by historical garments, theatrical literature, and costume history research.
One of the most important references was Janet Arnold's *Patterns of Fashion*, which provided detailed insight into seventeenth-century European dress construction. The project draws upon historical elements such as the doublet, trunk hose, and ruff collar, which served as the structural foundation of the design.
The literary influence came from Ben Jonson's *The Alchemist*, particularly the character Sir Epicure Mammon. His extravagant fantasies of wealth, pleasure, and excess became the conceptual starting point for the work and informed many of the visual decisions throughout the design process.
I was also influenced by historical objects preserved in museum collections. I have always been fascinated by how clothing can embody social values, aspirations, and cultural attitudes. Studying historical garments helped me understand how status and desire were visually expressed in different periods.
While there was no single designer whose work directly inspired the project, I was interested in challenging the boundary between costume and sculpture. The final piece emerged from combining historical research with material experimentation rather than following an existing designer's aesthetic language.
In that sense, the strongest influences behind *Foam of Desire* were history, literature, and the garments themselves rather than any individual contemporary designer.
One of the most important references was Janet Arnold's *Patterns of Fashion*, which provided detailed insight into seventeenth-century European dress construction. The project draws upon historical elements such as the doublet, trunk hose, and ruff collar, which served as the structural foundation of the design.
The literary influence came from Ben Jonson's *The Alchemist*, particularly the character Sir Epicure Mammon. His extravagant fantasies of wealth, pleasure, and excess became the conceptual starting point for the work and informed many of the visual decisions throughout the design process.
I was also influenced by historical objects preserved in museum collections. I have always been fascinated by how clothing can embody social values, aspirations, and cultural attitudes. Studying historical garments helped me understand how status and desire were visually expressed in different periods.
While there was no single designer whose work directly inspired the project, I was interested in challenging the boundary between costume and sculpture. The final piece emerged from combining historical research with material experimentation rather than following an existing designer's aesthetic language.
In that sense, the strongest influences behind *Foam of Desire* were history, literature, and the garments themselves rather than any individual contemporary designer.
Before answering the question, I would like to note that I found the wording interesting. The question refers to the designer as "his," which assumes the designer is male. As a female designer, I believe it is important that the language used in design and creative industries reflects the diversity of the people working within them. A more inclusive wording such as "their design" would be more appropriate.
As for the project itself, *Foam of Desire* was not developed for a conventional consumer market. Its primary audience consists of theater productions, fantasy and historical films, immersive performances, exhibitions, and other creative contexts where costume serves as a narrative and artistic medium. The work was created to explore storytelling, symbolism, and material experimentation, making it particularly relevant to projects that require strong visual world-building and character development.
As for the project itself, *Foam of Desire* was not developed for a conventional consumer market. Its primary audience consists of theater productions, fantasy and historical films, immersive performances, exhibitions, and other creative contexts where costume serves as a narrative and artistic medium. The work was created to explore storytelling, symbolism, and material experimentation, making it particularly relevant to projects that require strong visual world-building and character development.
What distinguishes *Foam of Desire* is the way it combines historical costume construction, material experimentation, and conceptual storytelling within a single work.
Many historical costume projects focus on reconstruction, while many contemporary costume works prioritize visual spectacle. *Foam of Desire* occupies a space between these approaches. It begins with authentic seventeenth-century garment structures, including the doublet, trunk hose, and ruff collar, but transforms them into a contemporary sculptural form that communicates a psychological idea rather than a historical reality.
Another distinctive aspect of the project is its material development. Instead of relying on conventional textile techniques, I worked with a moldable mesh material and transparent structural elements to create organic, bubble-like surfaces. These forms appear luxurious and playful from a distance, yet become increasingly unsettling upon closer inspection. This visual contradiction is central to the concept.
The project is also unusual in that it treats costume as both a character study and a sculptural object. The garment does not simply dress the body; it appears to grow beyond it. The silhouette expands, distorts, and almost consumes the wearer, transforming an internal condition—desire—into a visible physical presence.
Most importantly, the work does not present excess as purely beautiful or purely grotesque. Instead, it exists in the unstable space between attraction and discomfort. That tension is what gives the project its identity and sets it apart from more conventional historical, fashion, or costume-based works.
Many historical costume projects focus on reconstruction, while many contemporary costume works prioritize visual spectacle. *Foam of Desire* occupies a space between these approaches. It begins with authentic seventeenth-century garment structures, including the doublet, trunk hose, and ruff collar, but transforms them into a contemporary sculptural form that communicates a psychological idea rather than a historical reality.
Another distinctive aspect of the project is its material development. Instead of relying on conventional textile techniques, I worked with a moldable mesh material and transparent structural elements to create organic, bubble-like surfaces. These forms appear luxurious and playful from a distance, yet become increasingly unsettling upon closer inspection. This visual contradiction is central to the concept.
The project is also unusual in that it treats costume as both a character study and a sculptural object. The garment does not simply dress the body; it appears to grow beyond it. The silhouette expands, distorts, and almost consumes the wearer, transforming an internal condition—desire—into a visible physical presence.
Most importantly, the work does not present excess as purely beautiful or purely grotesque. Instead, it exists in the unstable space between attraction and discomfort. That tension is what gives the project its identity and sets it apart from more conventional historical, fashion, or costume-based works.
The title *Foam of Desire* emerged during the development of the project as both a visual and conceptual description of the work.
Visually, the costume is covered with translucent, bubble-like forms that spread across the garment's surface. These sculptural elements create the impression of foam growing over the body, making the title a direct reference to the appearance of the piece itself.
At the same time, the title reflects the central idea behind the project. Inspired by Sir Epicure Mammon from Ben Jonson's *The Alchemist*, the work explores desire, excess, and the endless pursuit of more. I became interested in the way desire expands beyond necessity, accumulating layer upon layer until it begins to overwhelm the individual.
Foam felt like an appropriate metaphor for this condition. It grows rapidly, occupies space, appears attractive and abundant, yet remains fragile and temporary. In many ways, desire behaves similarly. It can be seductive and beautiful, but it can also become unstable when it expands without limits.
For me, the title connects the physical appearance of the costume with its underlying meaning. The bubble-like structures resemble foam, while the foam itself becomes a symbol of desire—something that continuously grows, transforms, and ultimately reveals its own fragility.
Visually, the costume is covered with translucent, bubble-like forms that spread across the garment's surface. These sculptural elements create the impression of foam growing over the body, making the title a direct reference to the appearance of the piece itself.
At the same time, the title reflects the central idea behind the project. Inspired by Sir Epicure Mammon from Ben Jonson's *The Alchemist*, the work explores desire, excess, and the endless pursuit of more. I became interested in the way desire expands beyond necessity, accumulating layer upon layer until it begins to overwhelm the individual.
Foam felt like an appropriate metaphor for this condition. It grows rapidly, occupies space, appears attractive and abundant, yet remains fragile and temporary. In many ways, desire behaves similarly. It can be seductive and beautiful, but it can also become unstable when it expands without limits.
For me, the title connects the physical appearance of the costume with its underlying meaning. The bubble-like structures resemble foam, while the foam itself becomes a symbol of desire—something that continuously grows, transforms, and ultimately reveals its own fragility.
The development of *Foam of Desire* relied primarily on historical research, material experimentation, and hand-made visual exploration rather than digital design tools.
The project began with extensive research into seventeenth-century European dress, particularly garment construction methods documented in Janet Arnold's *Patterns of Fashion*. This historical research provided the structural foundation for the design.
To develop the visual direction, I worked extensively with hand-made collages. I collected and combined historical references, textures, colors, artworks, and material samples to build the conceptual world of the project. This process allowed unexpected connections and visual relationships to emerge organically.
Much of the design was developed directly through making. Instead of relying heavily on digital rendering, I experimented with materials by hand, testing forms, structures, proportions, and surface effects through physical prototypes. The final silhouette evolved through a continuous dialogue between concept and material.
Because the project explores transformation and organic growth, I found that working physically with materials was more valuable than creating highly finished digital visualizations. The design emerged through research, observation, collage, and hands-on experimentation, making the process itself an essential part of the final outcome.
The project began with extensive research into seventeenth-century European dress, particularly garment construction methods documented in Janet Arnold's *Patterns of Fashion*. This historical research provided the structural foundation for the design.
To develop the visual direction, I worked extensively with hand-made collages. I collected and combined historical references, textures, colors, artworks, and material samples to build the conceptual world of the project. This process allowed unexpected connections and visual relationships to emerge organically.
Much of the design was developed directly through making. Instead of relying heavily on digital rendering, I experimented with materials by hand, testing forms, structures, proportions, and surface effects through physical prototypes. The final silhouette evolved through a continuous dialogue between concept and material.
Because the project explores transformation and organic growth, I found that working physically with materials was more valuable than creating highly finished digital visualizations. The design emerged through research, observation, collage, and hands-on experimentation, making the process itself an essential part of the final outcome.
The most unique aspect of *Foam of Desire* is the way it transforms desire into a physical structure.
Rather than using costume to represent a character externally, I wanted the garment itself to become an extension of the character's inner condition. The costume does not simply decorate the body—it appears to grow beyond it, expand around it, and gradually consume it. In this sense, desire becomes visible.
Another distinctive element is the combination of historical tailoring and experimental material construction. The work is rooted in authentic seventeenth-century garment structures, yet the silhouette is transformed through sculptural, bubble-like forms created from a moldable mesh material and transparent structural elements. This creates a visual language that feels simultaneously historical and unfamiliar.
I am also interested in the tension between attraction and discomfort. From a distance, the work appears colorful, luxurious, and almost playful. As viewers move closer, the forms become increasingly excessive and unstable. This shift in perception mirrors the conceptual theme of the project itself.
Ultimately, what makes the design unique is that it exists between multiple categories. It is simultaneously costume, sculpture, historical reference, and conceptual artwork. Rather than fitting comfortably into a single discipline, it explores the space where those disciplines overlap.
Rather than using costume to represent a character externally, I wanted the garment itself to become an extension of the character's inner condition. The costume does not simply decorate the body—it appears to grow beyond it, expand around it, and gradually consume it. In this sense, desire becomes visible.
Another distinctive element is the combination of historical tailoring and experimental material construction. The work is rooted in authentic seventeenth-century garment structures, yet the silhouette is transformed through sculptural, bubble-like forms created from a moldable mesh material and transparent structural elements. This creates a visual language that feels simultaneously historical and unfamiliar.
I am also interested in the tension between attraction and discomfort. From a distance, the work appears colorful, luxurious, and almost playful. As viewers move closer, the forms become increasingly excessive and unstable. This shift in perception mirrors the conceptual theme of the project itself.
Ultimately, what makes the design unique is that it exists between multiple categories. It is simultaneously costume, sculpture, historical reference, and conceptual artwork. Rather than fitting comfortably into a single discipline, it explores the space where those disciplines overlap.
*Foam of Desire* was developed as an independent project, and the design, research, material development, pattern adaptation, and construction were carried out by myself.
Because the work originated as an experimental costume project, I was interested in maintaining direct control over both the conceptual and technical aspects of the process. This allowed the design to evolve organically through research and material testing rather than being divided among multiple specialists.
The project did not rely on external technical consultants or specialized fabricators. Instead, I spent a significant amount of time experimenting with materials, construction methods, and structural solutions myself. Much of the final outcome emerged through hands-on investigation and trial-and-error.
Although the work was independently realized, it was informed by historical costume scholarship, particularly research into seventeenth-century garment construction. In that sense, the project was supported by knowledge preserved through costume historians, museum collections, and archival resources.
For this particular design, I felt it was important that the conceptual vision and physical execution remained closely connected. The material experiments, structural decisions, and visual language all developed simultaneously throughout the making process, making the project a highly personal and self-directed exploration.
Because the work originated as an experimental costume project, I was interested in maintaining direct control over both the conceptual and technical aspects of the process. This allowed the design to evolve organically through research and material testing rather than being divided among multiple specialists.
The project did not rely on external technical consultants or specialized fabricators. Instead, I spent a significant amount of time experimenting with materials, construction methods, and structural solutions myself. Much of the final outcome emerged through hands-on investigation and trial-and-error.
Although the work was independently realized, it was informed by historical costume scholarship, particularly research into seventeenth-century garment construction. In that sense, the project was supported by knowledge preserved through costume historians, museum collections, and archival resources.
For this particular design, I felt it was important that the conceptual vision and physical execution remained closely connected. The material experiments, structural decisions, and visual language all developed simultaneously throughout the making process, making the project a highly personal and self-directed exploration.
Technology was essential to this project, particularly in terms of pattern-making and garment construction.
*Foam of Desire* is built upon seventeenth-century European menswear patterns, drawing from the historical cutting systems documented in Janet Arnold's *Patterns of Fashion*. Rather than simply borrowing the visual appearance of historical dress, I reconstructed and adapted these complex pattern structures as the foundation of the work.
One of the greatest technical challenges was balancing historical accuracy with transformation. The doublet, trunk hose, and ruff collar all required advanced pattern-cutting and construction techniques before they could be distorted, enlarged, and reinterpreted into the final silhouette.
The project also demanded a high level of craftsmanship during fabrication. Every sculptural volume had to be individually shaped, integrated into the garment, and supported without compromising the structure of the costume. Achieving the final form required extensive sewing, pattern modification, structural problem-solving, and repeated refinements throughout the making process.
While the project is conceptually driven, it could not have been realized without strong technical skills. Historical pattern cutting, tailoring knowledge, and garment construction were just as important as the artistic idea itself. In many ways, the final result is a combination of historical craftsmanship and contemporary experimentation.
*Foam of Desire* is built upon seventeenth-century European menswear patterns, drawing from the historical cutting systems documented in Janet Arnold's *Patterns of Fashion*. Rather than simply borrowing the visual appearance of historical dress, I reconstructed and adapted these complex pattern structures as the foundation of the work.
One of the greatest technical challenges was balancing historical accuracy with transformation. The doublet, trunk hose, and ruff collar all required advanced pattern-cutting and construction techniques before they could be distorted, enlarged, and reinterpreted into the final silhouette.
The project also demanded a high level of craftsmanship during fabrication. Every sculptural volume had to be individually shaped, integrated into the garment, and supported without compromising the structure of the costume. Achieving the final form required extensive sewing, pattern modification, structural problem-solving, and repeated refinements throughout the making process.
While the project is conceptually driven, it could not have been realized without strong technical skills. Historical pattern cutting, tailoring knowledge, and garment construction were just as important as the artistic idea itself. In many ways, the final result is a combination of historical craftsmanship and contemporary experimentation.
Yes, the project was informed by focused historical and textual research rather than quantitative data.
One area of research involved studying seventeenth-century European menswear, particularly the construction methods and pattern systems documented in Janet Arnold's *Patterns of Fashion*. This research informed the proportions, silhouette, and structural foundation of the garment.
I also conducted literary research into Ben Jonson's *The Alchemist*, focusing on the character of Sir Epicure Mammon. His obsession with wealth, excess, and pleasure became the conceptual basis of the project and guided many of the design decisions.
In addition, I investigated historical representations of status, luxury, and aristocratic self-fashioning. Understanding how wealth and power were visually expressed in clothing helped me develop the exaggerated forms and proportions that define the final piece.
Rather than using research to recreate a historical garment, I used it as a framework for transformation. The final design emerged from the intersection of historical construction, literary interpretation, and material experimentation.
One area of research involved studying seventeenth-century European menswear, particularly the construction methods and pattern systems documented in Janet Arnold's *Patterns of Fashion*. This research informed the proportions, silhouette, and structural foundation of the garment.
I also conducted literary research into Ben Jonson's *The Alchemist*, focusing on the character of Sir Epicure Mammon. His obsession with wealth, excess, and pleasure became the conceptual basis of the project and guided many of the design decisions.
In addition, I investigated historical representations of status, luxury, and aristocratic self-fashioning. Understanding how wealth and power were visually expressed in clothing helped me develop the exaggerated forms and proportions that define the final piece.
Rather than using research to recreate a historical garment, I used it as a framework for transformation. The final design emerged from the intersection of historical construction, literary interpretation, and material experimentation.
One of the biggest challenges was balancing historical accuracy with creative transformation.
The design is rooted in seventeenth-century European menswear, and I wanted the underlying structure to remain recognizable. At the same time, the project required those historical forms to be exaggerated and reimagined to communicate the themes of excess and desire. Finding the point where the garment still felt historically grounded while becoming something entirely new required many iterations.
Another challenge involved construction. The sculptural bubble-like forms were not decorative additions applied at the end of the process; they had to become part of the garment's structure. This required extensive experimentation to determine how the forms could be shaped, attached, and supported without overwhelming the silhouette or compromising the integrity of the costume.
Material behavior also presented difficulties. The moldable mesh material reacted differently from traditional costume fabrics, making it difficult to predict the final outcome. Many samples and prototypes were necessary before I could achieve the balance between volume, transparency, and structural stability that I was looking for.
Perhaps the most challenging aspect was ensuring that the concept remained visible throughout the making process. It was important that every technical decision—from pattern cutting to construction details—continued to support the central idea of desire expanding beyond control. Maintaining that connection between concept and execution was a constant consideration throughout the project.
The design is rooted in seventeenth-century European menswear, and I wanted the underlying structure to remain recognizable. At the same time, the project required those historical forms to be exaggerated and reimagined to communicate the themes of excess and desire. Finding the point where the garment still felt historically grounded while becoming something entirely new required many iterations.
Another challenge involved construction. The sculptural bubble-like forms were not decorative additions applied at the end of the process; they had to become part of the garment's structure. This required extensive experimentation to determine how the forms could be shaped, attached, and supported without overwhelming the silhouette or compromising the integrity of the costume.
Material behavior also presented difficulties. The moldable mesh material reacted differently from traditional costume fabrics, making it difficult to predict the final outcome. Many samples and prototypes were necessary before I could achieve the balance between volume, transparency, and structural stability that I was looking for.
Perhaps the most challenging aspect was ensuring that the concept remained visible throughout the making process. It was important that every technical decision—from pattern cutting to construction details—continued to support the central idea of desire expanding beyond control. Maintaining that connection between concept and execution was a constant consideration throughout the project.
I decided to submit Foam of Desire to an international design competition because I believe growth comes from challenge. Presenting work to an international audience allows a project to be evaluated from perspectives beyond one's own educational, cultural, or professional environment.
I was particularly interested in the A' Design Award because of its global reach and multidisciplinary nature. The competition brings together designers, artists, architects, and innovators from many different fields, creating a platform where ideas can be viewed within a broader international context. I felt that Foam of Desire, which exists between costume design, sculpture, and contemporary art, would benefit from that kind of dialogue.
Another reason for participating was the opportunity to introduce costume design to audiences who may not normally encounter it in a design competition setting. I believe costume can communicate complex ideas just as effectively as products, architecture, or visual design, and I wanted to contribute to that conversation.
Receiving recognition from the A' Design Award was particularly meaningful because it demonstrated that the project's themes, craftsmanship, and experimental approach could resonate across cultural and disciplinary boundaries. For me, the experience reinforced the value of taking creative risks and sharing work with a wider international community.
I was particularly interested in the A' Design Award because of its global reach and multidisciplinary nature. The competition brings together designers, artists, architects, and innovators from many different fields, creating a platform where ideas can be viewed within a broader international context. I felt that Foam of Desire, which exists between costume design, sculpture, and contemporary art, would benefit from that kind of dialogue.
Another reason for participating was the opportunity to introduce costume design to audiences who may not normally encounter it in a design competition setting. I believe costume can communicate complex ideas just as effectively as products, architecture, or visual design, and I wanted to contribute to that conversation.
Receiving recognition from the A' Design Award was particularly meaningful because it demonstrated that the project's themes, craftsmanship, and experimental approach could resonate across cultural and disciplinary boundaries. For me, the experience reinforced the value of taking creative risks and sharing work with a wider international community.
One of the most important lessons I learned from *Foam of Desire* was how to trust the dialogue between concept and making.
At the beginning of the project, I had a clear thematic direction, but many aspects of the final form emerged through experimentation rather than planning. The process taught me that materials can actively contribute to the development of an idea rather than simply serving it.
I also strengthened my technical skills in historical pattern adaptation and garment construction. Working with seventeenth-century structures while simultaneously transforming them into something contemporary required a deeper understanding of proportion, silhouette, and structural balance than many of my previous projects.
Perhaps most importantly, the project encouraged me to think beyond traditional categories. During its development, I realized that I was not only designing a costume. I was creating something that existed between costume, sculpture, and conceptual art. That realization expanded my understanding of what costume design could be and opened new directions for my future practice.
Looking back, *Foam of Desire* taught me to be more ambitious, both technically and conceptually. It showed me that research, craftsmanship, and experimentation can coexist within a single work and that some of the most rewarding discoveries happen when a project moves beyond its original expectations.
At the beginning of the project, I had a clear thematic direction, but many aspects of the final form emerged through experimentation rather than planning. The process taught me that materials can actively contribute to the development of an idea rather than simply serving it.
I also strengthened my technical skills in historical pattern adaptation and garment construction. Working with seventeenth-century structures while simultaneously transforming them into something contemporary required a deeper understanding of proportion, silhouette, and structural balance than many of my previous projects.
Perhaps most importantly, the project encouraged me to think beyond traditional categories. During its development, I realized that I was not only designing a costume. I was creating something that existed between costume, sculpture, and conceptual art. That realization expanded my understanding of what costume design could be and opened new directions for my future practice.
Looking back, *Foam of Desire* taught me to be more ambitious, both technically and conceptually. It showed me that research, craftsmanship, and experimentation can coexist within a single work and that some of the most rewarding discoveries happen when a project moves beyond its original expectations.
One aspect that may not be immediately visible in the finished work is the amount of technical craftsmanship behind it.
Because *Foam of Desire* appears highly sculptural and experimental, viewers often focus on the conceptual narrative or the unusual surface forms. However, the project is equally rooted in historical tailoring, pattern-making, and garment construction. The final piece could only exist because these technical foundations were carefully developed and adapted throughout the process.
I would also emphasize that the project was never intended as a critique of luxury itself. Instead, it examines the tension between attraction and excess. I am interested in the moment when beauty becomes overwhelming, when abundance becomes instability, and when desire begins to transform both the individual and their surroundings.
Finally, I hope the work encourages people to think about costume differently. Costume is often viewed as something that supports a story, but it can also function as a form of research, sculpture, and conceptual expression. With Foam of Desire, I wanted to explore those possibilities and demonstrate how clothing can communicate ideas that extend far beyond the body itself.
Because *Foam of Desire* appears highly sculptural and experimental, viewers often focus on the conceptual narrative or the unusual surface forms. However, the project is equally rooted in historical tailoring, pattern-making, and garment construction. The final piece could only exist because these technical foundations were carefully developed and adapted throughout the process.
I would also emphasize that the project was never intended as a critique of luxury itself. Instead, it examines the tension between attraction and excess. I am interested in the moment when beauty becomes overwhelming, when abundance becomes instability, and when desire begins to transform both the individual and their surroundings.
Finally, I hope the work encourages people to think about costume differently. Costume is often viewed as something that supports a story, but it can also function as a form of research, sculpture, and conceptual expression. With Foam of Desire, I wanted to explore those possibilities and demonstrate how clothing can communicate ideas that extend far beyond the body itself.