Please upgrade your browser

For the best experience, you should upgrade your browser. Visit our accessibility page to view a list of supported browsers along with links to download the latest version.

Student Showcase Archive

Wonjee Chung

MA work

MA work

  • Image Reaserch Board

    Image Reaserch Board, Wonjee Chung 2014

  • Line-up

    Line-up, Wonjee Chung 2014

  • Fbric board 1

    Fbric board 1, Wonjee Chung 2014

  • Fabric 2

    Fabric 2, Wonjee Chung 2014

  • Crochet Jacquard Fabric Development

    Crochet Jacquard Fabric Development, Wonjee Chung 2014

  • Crochet Jacquard Dress

    Crochet Jacquard Dress, Wonjee Chung 2014

  • Crochet Detail

    Crochet Detail, Wonjee Chung 2014

Decomposition & Assembly

The Chapman brothers’ monstrous modern body images have fascinated me and influenced my collection's silhouettes deconstructed and manipulated nature. For example, misplaced and multiplied neck holes and layering.

Antony Gormely's fractured body images have also greatly inspired this collection. This is due to his flexibility in recreating any shapes, so simple geometric images graphically support the whole collection. 

This collection contains a lot of calculations as an important design element. A strong relationship between the silhouette and graphic of the fabrics is crucial. When knitted fabric is calculated, it is normally broken down to simple geometric shapes, for example they are counted as squares. This concept is the same as the fractured body, therefore every loop is counted as a vital design feature and they are placed where needed.

It is also important to keep a wearable and productive value so I tried to exploit the general production process of knitwear and develop this further.  All fabrics are industrial machine knitted; Dubie and Shima are used for Jacquard fabric to create a luxurious finish. In relation to this the hidden seams are manually controlled graphics with crochet objects and silicone flex.

The material had to be neat and clean to assist all the concepts and contemporaneity. Viscose and cashmere are dominantly used and cashwool and silk are mixed for substantial quality of fabrics. 

Drapes from viscose empower graphical movement, which gives a lifelike illusion. Fine viscose enables the creator to play with layering, using a see-though effect which creates a contrast with other materials. Cashmere adds soft touch and volume, crochet objects and bonding silicone flex give an interesting texture and diverse dimension.



  • Profile
  • MA Degree


    School of Design


    MA Fashion Womenswear, 2014



  • Designers convey and create their vision, yet the wearer makes the final decision. This presents the question: What was the original fantasy that the designer came up with to create the final design? This collection considers clothes as components and wearers as designers. Rather than suggesting certain ideas, I have been researching 'bodies', since all costumers have different shapes and ideals. For this reason the versatile silhouette and changeable surface with graphic are the main ideas. 

    This final collection aims at productive and wearable value, after graduation I am wiling to specify more interests in this subject with more craftmanship. 

  • Degrees

  • BA Fashion: Knitwear Design & Knited Textiles, Nottingham Trent University, 2011; BA Textile Deign, Sangmyung University, South Korea, 2006
  • Experience

  • Intership (knitwear design), ASDA: Stuart Peters, 2011; Freelance designer, Kim Studio, London, 2011; Junior knitwear designer, Myungrang, Seoul, 2002–4; Studio assistant, The Collection, London, 2011
  • Exhibitions

  • Spinexpo, 2011; Shenzhen Fashion Week, 2011
  • Awards

  • Stuart Peters Visionary Knitwear Award, Graduation Fashion Week, 2011; Winning Piece of Work, Korean Industrial Artist Festival, 2005; Winning Piece of Work, Korean Textile Design Competition, 2005; Special Selection, Korean New Art Festival, 2005
  • Conferences

  • Pure London, 2011; Seoul Coulour Expo, 2005
  • Publications

  • Textile View Magazine, 102, pp 242–3