“When I close my eyes, I then can see…some…things. They called me witch.”
“So, What do you see now?”
The girl suddenly got up, grinning. the eyes remaining shut, she started dancing.
Just then, a spectre appeared, in the corner of the room. And that’s how we were taken into her world.
“Witch” -Edward Tseng
Jamie Wei Huang’s first digital film, Her, takes us to a surreal and haunted landscape populated by ghosts, ghouls, and gigantic disembodied heads.
The designer’s latest collection is based on the novelette Witch by director Edward Tseng, with the designer making repeated allusions to the work in her pieces for the new collection.
The film begins with a woman sitting on a chair in a darkened room with her eyes closed. The woman’s long unruly dark hair falls on her face as an odd, detached look spreads across her face. Is this the witch of the title?
At that moment, the woman clambers to her feet and begins to put on a red outfit that has been hanging on a wall in the room.
The scene then shifts to a barren landscape. Snow-capped mountains are visible in the background. A group of models stand in the centre of the ground, their impressive and richly coloured garments stark against out the omnipresent white. As our eyes survey the scene, it becomes clear that all of these figures are representations of the woman from the first scene.
As we try to make sense of what we are seeing, the scene switches again. We have returned to the room just as the “witch” begins to writhe and contort herself. As her movements become more violent, we are suddenly transported once again – this time to a barren landscape where a massive head sits. A woman standing in front of it.
The film finishes with two shots. A shot of the darkened room with a ghost within it, and finally, a shot of the ghost in the water.
In a statement released to coincide with the film, Huang said that her new collection sought to reinterpret the ideology formed by the separation and union of one, as well as the feelings of obedience and oppression caused by the desire to survive. The designer said that she had chosen to showcase these ideas using the medium and logic of surrealism with the work also occasionally referencing impression.
Jamie Wei Huang’s first digital film gives the designer’s followers a brilliantly evocative insight into the inspiration behind Huang’s latest collection. Given the length of the film, however, it is not possible to get more than a glimpse of the designer’s new collection. This is a shame, as Huang is one of the most exciting designers working today.
Nonetheless, Her is not a complete waste, as it provides a tantalising glimpse into the mind of the intriguing Ms Huang.
More information about Jamie Wei Huang can be found here.
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