10.06.19 in ambassadeurs
yiqing yin
what is the source of your inspiration?
it's an association of so many things, an aggregate between emotions, travel, meetings, the people around me, nature and the elements, light, certain films. This then constructs a narrative that touches me and something that takes my breath away. then begins a process of transformation, hybridization, mixing of these elements in which I cause voluntary accidents, seeking spaces in which I leave my comfort zone. I like to see it as a journey, a quest “between two”, a sensory wandering.
Who are the people who constitute references for you in your profession?
for very different reasons, I think of Azzedine Alaïa for the very new and unique model that he was able to impose on the system through his irreverence and his loyalty; to Yoji Yamamoto because he was a revolutionary and for his categorical refusal of compromise and his mastery of cutting; to madeleine vionnet for her architectural genius.
What compliment would you like to hear or hear again in your profession?
It wasn't meant as a compliment at first glance, but a woman said to me one day while putting on one of my pieces: "I feel more like myself with this item of clothing than before I put it on." hearing this is having the feeling that we have achieved our objective, because it is exactly our function as designers to offer a habitat, a mode of expression, an experience of identity which brings people back to them -themselves. It's this type of emotional reaction that we're looking for. I thought then that she was going to keep this item of clothing all her life, a piece of clothing that would become a witness to her passage, her identity and her history. this is the function of fashion.
the city or destination that inspires you or resembles you?
Yunnan is a mountainous province located between Vietnam, Laos and Tibet. at this confluence around fifty different ethnic groups coexist, hybridizing know-how and traditions. it's a sort of hippieland in which artists and backpackers meet around the premises. that’s where I do my reboots.
it's an association of so many things, an aggregate between emotions, travel, meetings, the people around me, nature and the elements, light, certain films. This then constructs a narrative that touches me and something that takes my breath away. then begins a process of transformation, hybridization, mixing of these elements in which I cause voluntary accidents, seeking spaces in which I leave my comfort zone. I like to see it as a journey, a quest “between two”, a sensory wandering.
Who are the people who constitute references for you in your profession?
for very different reasons, I think of Azzedine Alaïa for the very new and unique model that he was able to impose on the system through his irreverence and his loyalty; to Yoji Yamamoto because he was a revolutionary and for his categorical refusal of compromise and his mastery of cutting; to madeleine vionnet for her architectural genius.
What compliment would you like to hear or hear again in your profession?
It wasn't meant as a compliment at first glance, but a woman said to me one day while putting on one of my pieces: "I feel more like myself with this item of clothing than before I put it on." hearing this is having the feeling that we have achieved our objective, because it is exactly our function as designers to offer a habitat, a mode of expression, an experience of identity which brings people back to them -themselves. It's this type of emotional reaction that we're looking for. I thought then that she was going to keep this item of clothing all her life, a piece of clothing that would become a witness to her passage, her identity and her history. this is the function of fashion.
the city or destination that inspires you or resembles you?
Yunnan is a mountainous province located between Vietnam, Laos and Tibet. at this confluence around fifty different ethnic groups coexist, hybridizing know-how and traditions. it's a sort of hippieland in which artists and backpackers meet around the premises. that’s where I do my reboots.
“I thought then that she was going to keep this garment all her life, a garment which would become a witness to her passage, her identity and her history. this is the function of fashion. »
how would you define your way of being and living?
I am instinctive, I let myself be carried away by my emotions, sensations and desires, by the opportunities that present themselves. I am therefore not necessarily always rational, I try to remain faithful to my aspirations and first instincts. I believe in a lucky star, which follows or precedes me. I don't like accumulating things, I need simplicity, I take regular stock of my things, I need them to give me emotion. the clothes and objects I own have a story and all remind me of something, they have a function. either that of key witnesses of memory, or that of generating new moments of sharing with family or friends. Invest in a sense of community. the days only last 24 hours, it is better to use them to build relationships rather than to make the most of what you have.
your favorite themes in your creative approach?
I like fluidity, moving and blurred shapes, transition and perpetual transformation. finally the clothes are finished once the person wears them, they must intervene like breathing.
the person you dream of being able to dress?
I would have loved to dress Mickael Jackson. there would have been crystals that glowed, electric liquid matter, something on which we would have projected a video, I would have liked to build an interaction with his dance. I would also dream of dressing fka twigs. I am very inspired by his gestures. it breathes an almost cosmic and cellular vibration into everything it touches, beyond reality. seeing her express herself in her art is a real sensory experience.
what was your biggest challenge?
I led up to 8 collections per year, ensuring creative renewal each time, while managing projects on the side. I had to manage to allow myself time to breathe, in a rhythm and seasons that perpetually followed one another. I always experience the fact of working while being governed by cycles as a frustration. it is a rhythm that no longer leaves room for error, even though this error is very often an act of magic.
do you have any rituals in your job?
When I tackle a project, I always allow extra time. I allow myself a phase of destruction in my project, a period of latency and loss of time. In my opinion, this is what defines luxury. true luxury is being able to waste time, wander, have doubts, destroy everything you have done to overcome it, and thus never lock yourself in your own cabinet of curiosities.
I am instinctive, I let myself be carried away by my emotions, sensations and desires, by the opportunities that present themselves. I am therefore not necessarily always rational, I try to remain faithful to my aspirations and first instincts. I believe in a lucky star, which follows or precedes me. I don't like accumulating things, I need simplicity, I take regular stock of my things, I need them to give me emotion. the clothes and objects I own have a story and all remind me of something, they have a function. either that of key witnesses of memory, or that of generating new moments of sharing with family or friends. Invest in a sense of community. the days only last 24 hours, it is better to use them to build relationships rather than to make the most of what you have.
your favorite themes in your creative approach?
I like fluidity, moving and blurred shapes, transition and perpetual transformation. finally the clothes are finished once the person wears them, they must intervene like breathing.
the person you dream of being able to dress?
I would have loved to dress Mickael Jackson. there would have been crystals that glowed, electric liquid matter, something on which we would have projected a video, I would have liked to build an interaction with his dance. I would also dream of dressing fka twigs. I am very inspired by his gestures. it breathes an almost cosmic and cellular vibration into everything it touches, beyond reality. seeing her express herself in her art is a real sensory experience.
what was your biggest challenge?
I led up to 8 collections per year, ensuring creative renewal each time, while managing projects on the side. I had to manage to allow myself time to breathe, in a rhythm and seasons that perpetually followed one another. I always experience the fact of working while being governed by cycles as a frustration. it is a rhythm that no longer leaves room for error, even though this error is very often an act of magic.
do you have any rituals in your job?
When I tackle a project, I always allow extra time. I allow myself a phase of destruction in my project, a period of latency and loss of time. In my opinion, this is what defines luxury. true luxury is being able to waste time, wander, have doubts, destroy everything you have done to overcome it, and thus never lock yourself in your own cabinet of curiosities.
“it’s a rhythm that no longer leaves room for error, even though this error is very often an act of magic. »
the style that annoys you?
everything that concerns the decorative, the superfluous, the flourish, that which decorates without serving the function. It's my personal taste, but it weighs down my thinking. the flourishes amount to a form of noise that is unbearable to me. a favorite place to usually find yourself? I like to walk around the Buttes Chaumont or stay on my terrace from which I can see all of Paris. I am often at OFR because we find this form of knowledge that is both selected and concentrated, or at Deyrolle which is such an inspiring place. there is also this small “very special” restaurant which manages to be very beautiful and intimate at the same time.
your favorite object? how much does he weigh ?
my father gave me fossilized dinosaur eggs found at auction in Drouot. they represent a testimony of time, a memory which speaks as much of eternity as of origin. it is an object that takes you on a journey and puts you into perspective. they weigh 20 kg.
what has weight in your life?
my daughter. my most beautiful creation. everything else is ephemeral.
your objects per gram, what are they?
how do you wear them? I have several bracelets in brushed black 925 silver, 41g and 33g, and two bracelets from the recent beads collection, 25g. I like the contrast of the latter, between the traditional definition of the pearl necklace and the elemental nature of the precious metal. there too there is this latency time, we don't really know how to react to this hybrid object, so simple and so sensual, with a cold sensuality. I wear my two beads as a necklace and the other bracelets over the wool sleeves. I like the fact that they structure a garment without really being defined as jewelry. As for my daughter, she carries a milligram.
how would you define the gram?
there are so many grams of radiance, strength and conscious sensuality in the silhouette. beyond the experience of wearing it, I like the fact that it is an inclusive and universal vision due to its purity, devoid of prescribed belonging, and thus adoptable by all.
everything that concerns the decorative, the superfluous, the flourish, that which decorates without serving the function. It's my personal taste, but it weighs down my thinking. the flourishes amount to a form of noise that is unbearable to me. a favorite place to usually find yourself? I like to walk around the Buttes Chaumont or stay on my terrace from which I can see all of Paris. I am often at OFR because we find this form of knowledge that is both selected and concentrated, or at Deyrolle which is such an inspiring place. there is also this small “very special” restaurant which manages to be very beautiful and intimate at the same time.
your favorite object? how much does he weigh ?
my father gave me fossilized dinosaur eggs found at auction in Drouot. they represent a testimony of time, a memory which speaks as much of eternity as of origin. it is an object that takes you on a journey and puts you into perspective. they weigh 20 kg.
what has weight in your life?
my daughter. my most beautiful creation. everything else is ephemeral.
your objects per gram, what are they?
how do you wear them? I have several bracelets in brushed black 925 silver, 41g and 33g, and two bracelets from the recent beads collection, 25g. I like the contrast of the latter, between the traditional definition of the pearl necklace and the elemental nature of the precious metal. there too there is this latency time, we don't really know how to react to this hybrid object, so simple and so sensual, with a cold sensuality. I wear my two beads as a necklace and the other bracelets over the wool sleeves. I like the fact that they structure a garment without really being defined as jewelry. As for my daughter, she carries a milligram.
how would you define the gram?
there are so many grams of radiance, strength and conscious sensuality in the silhouette. beyond the experience of wearing it, I like the fact that it is an inclusive and universal vision due to its purity, devoid of prescribed belonging, and thus adoptable by all.
" my daughter. my most beautiful creation. everything else is ephemeral.”
---accumulation---
bracelet_41g_silver-black-925_brushed_smooth_ribbon;bracelet_33g_silver-black-925_brushed_smooth_ribbon;bracelet_25g_silver-925_poli_smooth_beads;bracelet_11g_silver-925_poli_lisse_beads
