For the graduate collection, I drew inspiration from the architecture of Glasgow. I photographed buildings reflected in mirrors, focusing on their structure and flow, and developed geometric forms from these into drawings and woven samples. I extracted colour palettes by zooming into these photos and translated them into yarn choices. Reflecting the fluid, shiny qualities of architectural reflections, I worked with materials like monofilament yarn, silk, mohair, and glossy cotton. My weaving focused on experimenting with monks’ belt patterns, chosen for their versatility and repeating geometric motifs, which resonate with my theme. These patterns allowed me to explore circular, structured designs through various weaving techniques. I intended the woven sample to function as a fashion fabric, so I conducted material research and digital renderings. Once the larger sample was completed, I draped it on a Body to explore how it could inform different silhouettes in garment design.

My additional portfolio is inspired by the repetitive structures and spatial order found in traditional Beijing architecture and Glasgow’s urban design—two cities that have shaped my cultural perspective. Focusing on architectural motifs from Beijing, I explore softness within rigidity to express nostalgia and emotional connections to space. Through drawing and colour analysis, I developed a palette rooted in Beijing’s visual identity and translated architectural rhythms into abstract textile patterns. I worked with soft mohair, fine wool, chunky cotton yarns, and materials resembling the looped structures typical of Beijing buildings to reflect the tension between structure and softness. The final outcomes are tactile samples designed for interior decoration, aiming to create atmospheric spaces and convey cultural memory. I use natural fibres and emphasise emotional sustainability, aiming to produce textiles that evoke deep cultural and spatial resonance.