YUNXIN SUN

Collection

FIDGET

Fidget is a thesis collection that demonstrates the process of examining and analyzing clothing to determine how and why it affects our bodies. The spinning top fidget captivates its users through its continuous, repetitive motion, which leaves visible traces in space. These spinning movements inspire my exploration of garment interaction with the body, where the model, like the fidget, acts as a vessel—its motion shapes how the garment is perceived.
Just as the spinning top creates a mesmerizing effect through movement, clothing gains dimension and presence through the body's natural rhythms. By incorporating the tangible, circular, and repetitive motions of the spinning top into my design process, I hope to create dynamic traces within garments that are expressed through seamlines, silhouettes, and shapes. Throughout this collection, I used traditional tailoring techniques and worked on menswear, womenswear, and unisex looks.
Image: Hand-sewn double-faced wool coat with an adjustable collar.
Image: Adjustable linen shirt paired with wool pinstripe pants and scarf.
Image: Adjustable linen shirt paired with wool pinstripe pants and a double-faced wool vest. This is a unisex style.
Image: A linen pintuck kimono shirt styled with a navy wool skirt and scarf.
Image: Gusset and pleated slits are included for movement.
Image: Wool dress with double welt pockets.
Image: Padded shoulder details with pinstripe Bemberg lining.
Image: A wool single-breasted jacket styled with wool pinstripe pants and a scarf. The lining and scarf are made of a printed wool and viscose mix fabric.

Portfolio Link

See details for process and lineup.

Credits

Photographer: Draven Zhao
Models: Harry Li, Abby DeReamer
MUA: Hiro Yonemoto
Photoshoot Assistant: Jesse Wendelken Brooks, Rochelle Yuan, Tina Yuan

Bio

My name is Yunxin, but you can call me Susan. I’ve often questioned my decision to pursue a career in fashion design. With so many brands already in existence, why contribute to an industry often associated with excess and waste? The answer, for me, lies in the creative process itself. I’m drawn to the challenge of turning abstract ideas into something tangible, functional, and expressive.

What excites me most is redefining the relationship between the body and the garment. I aim to design clothing that is not only visually compelling but also intuitive, functional, and comfortable. My work focuses on fit, structure, and function, investigating how garments move with and respond to the body. Precision and craftsmanship are central to my process, and I believe that garments become truly personalized when they are tailored to our individual shapes.

I support sustainable practices through a commitment to slow fashion, creating with intention rather than urgency. To me, innovation begins with understanding the fundamentals of design and construction. Only then can we create clothing that fulfills its essential role: to support, enhance, and evolve with the human form.