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Jennifer Jiang

Edinburgh College of Art

My name is Jennifer Jiang. I am currently studying in the Edinburgh College of Art (ECA) department of the University of Edinburgh, working on my third school year of my Bachelor of Arts degree in Fashion. I have accumulated sufficient experience in digital designing skills like Indesign, Adobe Illustrator, Photoshop, Clo3D, and commonly used office software in my undergraduate study of design and manufacturing. On the other hand, ECA prioritized traditional design methods, so I have exercised my handcrafting skills including knitting, weaving, hand-sewing, and crocheting, as well as my ability to operate industrial sewing machines, flat knitting machines, and overlocking machines. In order to replenish my knowledge in flat cutting, I have participated in the University of the Arts London pattern-making courses. Inspired by the emphasis on craftsmanship and the progressive learning curve in ECA, my personal design style was cultivated based on three designing nuclei: Transparency, Culture, and Nature, of which transparency has the most profound impact on my designing projects. Transparency has influenced my choice of materials and personalized my design concepts. Moreover, transparency represents my interest in advocating sustainability and traceability in the contemporary fashion industry. My portfolio includes two other projects inspired by Scottish culture and the concept of natural aging, both are driven by a zero-waste philosophy, focusing on simplifying the industry manufacturing process. The two former internship experiences have offered me great access to the determined implementation of personal designing concepts and manufacturing methodologies of mastering details of artifacts, both of which educated me on the cruciality of exercising craftsmanship in not only the design spirit of the brand but also the various attempts in creating and testing demos. XUZHI inspired me to investigate the chemical reaction between materials and dressers by the lightness imparted by sequins and tassels. Comme Moi fascinates me with its emphasis on craftsmanship. The 25SS ready-to-wear series and 25SS cruise design series which I was involved in designing and communicating with Denim factories and auxiliary materials factories have enriched my understanding of the consistency of prioritizing the quality control of products and minimizing the limitations in the manufacturing process. Overall, all these curricular and extracurricular projects contributed together to establish my persistent pursuit of craftsmanship, firm interests, and aesthetics that include individual narratives, expression of emotions, and pursuing true self towards fashion design.

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Second Skin

Category: Apparel

Competitions: Fashion Competition 2025

Only Natural 2025 Fashion Apperal Project Title: Second Skin Project Introduction This project, titled Second Skin, explores how sustainable materials, ancient Chinese philosophies, and parametric natural patterns can be integrated into a wearable design that reflects both environmental awareness and cultural depth. Inspired by the concept of natural imperfection—specifically, the delicate cracks found in Chinese Ru kiln ceramics and dried earth surfaces—the design embodies resilience, adaptability, and beauty in fragility. The central idea is to reimagine traditional armor not as rigid protection but as a flexible, breathable second skin—one that responds to the body and environment like a living organism. Ancient Chinese lamellar armor was admired for its modular construction and adaptability. My reinterpretation merges this ancient principle with contemporary sustainability by using only natural and biodegradable materials such as wool and raffia. The development of this project began with an in-depth exploration of wool felting techniques. I worked extensively with wet felting, hand-layering raw wool fibres and using natural soap and water to bond them into thick, protective sheets. This process allowed me to create customizable shapes that molded naturally to the human form. However, the wet felting of large-scale panels came with many challenges, including inconsistent shrinkage and edge fraying. To resolve this, I experimented with internal binding using raffia weaving embedded along the wool edges. This method not only reinforced the structural integrity of the felt but also added a tactile, decorative detail rooted in craftsmanship. Raffia became a vital element throughout the entire development. After testing various types of raffia, I selected a higher-quality strand that remained intact and continuous, making it suitable for weaving and hand-stitching. The raffia was not only used for structural binding but also for creating handwoven decorative tassels at the back of the garment. Every binding, weave, and stitch was done entirely by hand, using only raffia as the connecting medium—no synthetic thread, glue, or plastic was involved. To explore the visual contrast between rigidity and softness—taking inspiration from the fractured surfaces of Ru kiln ceramics—I initially experimented with integrating recyclable aluminum sheets into the design. The aim was to create a subtle metallic crackled effect that echoed the layered fragility of ancient glazes. However, as I progressed, I realized that incorporating aluminum would complicate the garment’s biodegradability. In order to ensure that all elements could naturally decompose or be separated with ease at the end of the garment’s lifecycle, I decided not to use aluminum. Instead, I focused on achieving similar structural contrasts through the careful layering of natural fibres and surface techniques, maintaining both the visual intention and the integrity of a fully sustainable, compostable design. The design process involved multiple rounds of 3D draping and iterative prototyping on the mannequin. Since the raffia was difficult to pattern in a traditional flat format, I chose to construct key elements directly on the body form. This hands-on approach allowed better control over the flow, layering, and fit of the panels. Countless adjustments were made to balance the weight of wool felt with the lightness of raffia, while maintaining mobility and wearability. The final garment is composed of interlocking wool felt modules, each with reinforced raffia-bound edges, connected through handwoven joinery. The construction method is modular and zero-waste, with each felt piece made only to the necessary shape. All the components are biodegradable and ethically sourced. The wool was obtained from a local Scottish supplier, reflecting the project's grounding in both cultural heritage and material authenticity. This project is not just a garment—it is a physical manifesto of how tradition, sustainability, and experimentation can coexist in fashion. The armor-like exterior tells a story of protection, not from violence, but from environmental negligence. The softness of wool and natural fibers embodies care and responsibility toward nature. Every crack, seam, and fringe speaks to a world that is fragile yet powerful, broken yet repairable. By using only natural materials and working entirely by hand, I hope this design contributes to a growing movement that challenges the status quo of mass production and synthetic waste. It is a reminder that innovation can emerge from ancient wisdom, and that fashion can be both poetic and purposeful. Jennifer Jiang

In association with Arts Thread

Working with our partners at Arts Thread to develop lifelong learning and career opportunities for students of fashion and design. Our partnership provides the opportunity to compete on a world stage, participate in industry led workshops, set up an outstanding portfolio and gain access to the resources that will kickstart careers in fashion and design.