In the FW22 season, the introduction of the pigeon clutch bag by JW Anderson dropped a bombshell in the fashion industry with its captivating design and widespread acclaim. This intriguing observation of daily objects motivated Yun to think about the profound influence of things surrounding us. It reminded him of the importance of creating ornaments that resonate with people's emotions and experiences, rather than simply making jewellery for the sake of adornment.
The exploration of Sogetsuryu provided Yun with a fresh angle to look at the matter. To break the traditional standards of Ikebana, Sogetsuryu artists bravely embraced a perspective of the non-restricted form and material to build their works. This innovative point of view hit on the practice of taping flowers and constructed a bridge between fashion and Ikebana. By embracing the concept of Sogetsuryu, a piece of tape has taken the new role of being a vessel on our clothes while taping flowers becomes a process of flower arrangement at the same time.
The semiotic theory by Roland Barthes strengthened the major elements in the collection from another perspective. As shapes were transformed into "signifiers" and their original uses as "signifieds", the pieces evoked association and closeness within viewers. This theory allowed Yun to make designs that imbue new significance on ordinary objects and captivate the audience with interesting connections and narratives.
By applying the math principle of flower arrangement and standardization of graphic design into the collection, the jewellery possesses beautiful balance and harmony in its details and overall visual looks, which further enhances the central idea of Ikebana and its spirit.