This work explores the dialogue between human, material, and environment, treating nature not as a motif but as an active, ever-changing collaborator. At its core lies the philosophy of Ikebana, especially the triad of Shin (Heaven/Idea), Soe (Human), and Hikae (Earth/Material). This structure informs both the dyeing process and the garment’s composition.

I begin without a fixed form. The starting point is what nature offers in a specific moment and place – plants, soil, light, weather. These are not just raw materials but shaping forces. I work with natural dyeing techniques that embrace irregularity, impermanence, and traces of chance as authentic expressions of time and process.

Each textile is site- and time-specific, shaped by its environment. Industrial perfection is intentionally avoided in favor of a process that fosters deep connection between fabric, landscape, and body.

The dyed textile is divided into three segments based on the Ikebana triad and minimally altered into a wearable form. Its final shape emerges only on the body – a mobile composition in which the human becomes an active part of the artwork. Front and back are equally important and remain visible.

QR codes link the piece back to its origin, preserving the memory of place and process as a quiet but concrete trace.