Cheney Chan.

Clams, Origami and… Butter?

Beijing based designer, Cheney Chen, has taken the brand to new heights, guiding us through stories and visual imagery within the garments, that drive the eye and mind in many directions. The 2021 Private Collection undoubtedly showed a pristine shift within the brand's voice and representation.

One garment in particular caught the eye, and the inspirations behind the piece can be seen from various angles. Notably worn by actress, Anya Taylor Joy, as she graced the cover of Variety Magazine, this cream structured piece holds interesting takes one could walk away with.

Inspired by Chinese porcelain and the silhouette of Guan Yin Bodhisattva, a goddess of mercy, this garment can remind one that the way is of all. Chen recalls that learning how to make porcelain helped him notice the rotations and texture created through the countless layers of circles, further wanting to express that throughout the piece. The use of structured boning, organza and layered tulle create the fluttered shape that immediately draws attention, as it seemingly crowns around the model’s head.

“The structure in my memories always had a white smock with the head covered”, says Cheney Chan, when further explaining how the Guan Yin Bodhisattva inspired this look. The bellowed, shelf shaped and accentuated hips mirror the folded arms of the sculpture. While it is arranged in pristine stillness, it still plays on the eye with fluid and organic movement that closely resembles shapes we see in nature herself.

To introduce the emulations seen within this piece, we see as the surrounding back of the garment hovers and curves around the bodice in an oval shape, its wave-like appearance seeming as if it was fluid at one point but froze in time and never got the chance to readjust. This appearance closely resembles the Tridacna Gigas clam, which symbolizes protection and strength; two emotions given off in this garment. Protection in the aspect that the hovering of the piece protects the subject [the model], and strength in the way that it gives the impression that one holds power and resilience.

As you look at this clam to help explain the visual comparison of what is being spoken on, you can see its rippled curves along the valve margins and the overall textured pattern along the rib interstices. The valve margins create a tight seal when the shell is closed, protecting its body from the environment and as the rib interstices offer many uses, and to focus on the pattern in particular, it allows the shell to influence the flow of water along the surface, helping to manage settlement, and offer efficiencies within in its mobility, the same way that this dress gives the appearance that one is not only strong, but also able to move fluidly around her surroundings.

If you were to place this shell down on a table and look at it, you would also closely begin to see resemblance in the way that it caves in, where the natural body of its mass lays, almost as if the model is completely isolated from, yet aware of her surroundings. Visually and realistically can it mimic the clam, giving a widended view of the security she not only carries, but possesses within herself.

These same distinct textures and structures can be seen in various forms of intricate origami art. Artist Yuko Nishimura sculpts using abstract folded pieces of paper. With her technique rooted in traditional Japanese Origami, she creates using a repetitive process of creasing and folding to create an accordion type of pleat along the design, which closely resembles the pleated texture of Cheney Chen’s marvelous work we’re diving into. Yuko Nishimura alters the given perspective of her work by introducing different curves into each fold as it changes the angle and direction of the pattern.

Playing with her own form of “chiaroscuro”, the use of strong contrasts between light and dark contrasts that effect composition, Nishimura instead works in the direction of being dependent on the reflectiveness of light and the given focal point of the viewer, making each part play a vital role on how the sculptor stimulates the eye.

The act of Chiaroscuro can be seen within this garment as well, as cohesively, the lined, pleated pattern within the dress is consistent throughout, as it also takes you into various directions, along the base of the bodice, the outward protrusion of the bust, the accentuated folded hips and the area of the garment that surrounds the model.

When hit with different lights and looked at from different angles, one could either easily see the patterns contrasting against light, or one would assume that the dress is a flat surface without the textured detail added. A walking, visual illusion and experience, furthermore, when figuratively tied to origami, you can even begin to visualize the dress being made out of paper instead of tulle or organza. Within these complex patterns created by Nishimura, you can also see a close resemblance in the pattern layout of the garment before the pleated technique is added. Seamstresses carefully line out the base of the pattern, as the fabric and pleats are then carefully added, stitched and secured.

Now, this may be a longshot, but briefly imagine that you’re seated, you have your bread (…or an everything bagel), your butterknife and margarine of choice in hand. As you begin to spread the butter onto your baked good - preference, you pay attention to the pattern that is being created as you spread the knife against the surface, paying attention to the grooves of the butterknife in order to see the texture that is being created.

If you’re still here, great… if you’re lost, reference the photos.

As you can see, the order of linear cohesiveness that has been created between bread, butter and knife, you can make connections to the pleated fabric within this garment as it draws the eye in all directions, but calmingly enough to where it's not overwhelming and can be easily comprehended. 

These repeated, parallel lines and visual rhythmic patterns hold a striking resemblance to the one created from the grooves of the knife, as the butter that is being spread is varied through surface elevation, and even pressure, similar to how pleats in a fabric create ridges and valleys. The grooves that you see and the folds in the fabric can catch light very differently, creating shadows and highlights to which this play of light enhances the visual depth of both surfaces.

As we’ve compared Cheney Chan’s innovative creations to natural and artistic elements, we have drawn vivid parallels between Chan’s creations and the delicate curvature and textile structure of the Tridacna Gigas Clam, the precise and intricate folds of origami art, and the smooth spread of butter on bread. These meticulous comparisons have highlighted the organic and effortless fluidity inherent in Cheney Chan’s designs, painting a picture of fashion that is both natural and refined.