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(Displayed through capsule machines, the collection draws from the nostalgic act of collecting and preserving fleeting moments. Each capsule functions as a small container of memory, reflecting the collection’s exploration of time, illusion, and the desire to hold onto what cannot be kept forever.)

For the second collection of Illgiejang, Time, I approached time not as a narrative theme, but as a material condition embedded within the body and garment.

The collection originates from a simple desire: the wish for a joyful moment to last forever. Through sculptural constructions, I attempted to preserve fleeting movements as if they could be suspended in space. Using stitched structures, false openings, folded silhouettes, and displaced constructions, I created garments that exist between movement and stillness, reality and illusion.

For me, the desire to stop time raises another question: if we choose to preserve only happiness, what becomes of the moments we wish to forget?

This question led to the development of Shadow as Panel, a sub-line that treats darkness not as absence but as a structural necessity. Dense black panels occupy less physical volume while visually amplifying the surrounding forms, allowing adjacent fabrics to appear fuller, lighter, and more luminous. In the same way, painful memories—often dismissed as burdens—can become the conditions that allow present joy to exist and be recognized.

Throughout the collection, I treated wrinkles as traces of lived time, echoing the lines that form on a face. Distortions, tears, and displaced constructions function as sartorial scars, documenting experiences rather than concealing them. These marks are not imperfections but evidence of becoming.

Ultimately, Time proposes that the desire to stop time is itself an illusion. Yet the longing behind that illusion is real. It is the accumulation of memories, wounds, and shadows that shapes identity and gives meaning to the present. For me, the shadow is not something left behind, but something that quietly constructs who we become.

Morphing explores the transformations that occur when people enter one another’s lives.

As Yosuke, Wish, and Ever continue living together, their identities begin to shift through shared experiences, memories, and emotional exchanges. Rather than presenting transformation as a linear process of growth, the collection examines change as something unpredictable, uncomfortable, and at times unsettling.

Garments feature displaced openings, emerging volumes, layered skins, and distorted silhouettes that appear to grow, spread, or consume one another. Some forms suggest molting and renewal, while others blur the boundary between transformation and erosion. The collection intentionally avoids distinguishing whether these changes are beneficial or harmful, reflecting the ambiguity of real personal change.

Displayed through sticker sheets, the collection draws from the way experiences accumulate throughout life. Like stickers, encounters with other people attach themselves to us, peel away, overlap, and leave traces behind. Through these additions and removals, identities are continuously altered.

At its core, Morphing proposes that change is not always beautiful, intentional, or easy to understand. We are shaped by people, events, and circumstances beyond our control. What may feel like a wrong turn, a mistake, or an unwanted transformation can ultimately become part of the path that brings us somewhere we never expected to be.

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