The starting point is not an obvious mood board, but rather a collage of references that border on the obsessive: from Huguette Clark’s dollhouses to the miniature universe of Arrietty or the simulated life of The Sims. Sandy Liang turns the everyday into icons and the intimate into tailoring, signing a manifesto that redefines what it means to dress: it’s not the garment, but how you decide to put yourself together.
The show becomes a playful and eccentric game. Tabi reappear, but now they feature dancing bunnies and embroidered spring onions. Princess dresses are rewritten with ‘princess seams’ that ironically comment on aesthetic naivety. Ballerinas mutate into pink and black handbags, sealing Liang’s obsession with transforming everyday objects into fashion fetishes. Everything vibrates under a Chinatown 2.0 grandmother aesthetic.
Intimate possessions enter the scene in an almost theatrical way: buttery skirts with embedded PVC pouches displaying childhood memories as if they were pop relics; transparent sneakers covered in stickers; XXL buttons turned into talismans on the tip of a shoe. Liang celebrates the banal and exaggerates it.
Even the care labels—extra large, almost like planners—hide handwritten mantras: “Ah, forgive me for my first kiss” or “Be kind to yourself, always.” A direct nod to the gap between self-image and what the world projects of you, where vulnerability becomes aesthetic.
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