{"id":27722,"date":"2026-07-03T13:31:09","date_gmt":"2026-07-03T12:31:09","guid":{"rendered":"https:\/\/www.agneselect.com\/uncategorized\/ziggy-chen-ss27\/"},"modified":"2026-07-03T14:44:06","modified_gmt":"2026-07-03T13:44:06","slug":"ziggy-chen-ss27","status":"publish","type":"post","link":"https:\/\/www.agneselect.com\/en\/fashion\/ziggy-chen-ss27\/","title":{"rendered":"Ziggy Chen SS27 | AMBIEPOSE: A Surface Read Repeatedly by Time"},"content":{"rendered":"\t\t
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Ziggy Chen<\/a>‘s collections have always carried a carefully constructed sense of wear, as if only garments that have already lived through years of use are worthy of his attention. In AMBIEPOSE, he chooses to let the print be baptized by rain, taking this post-use tension to a new density.<\/p>

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AMBIEPOSE is the portmanteau he coined for the season\u2014ambience combined with purpose. Ambience, in his reading, is a refined perception of the everyday: an intuitive, emotional recognition of the world around us, shaped by atmosphere and lived experience. Purpose is the subtle threshold between utility and intention, closely tied to the ongoing, delicate relationship between the maker and the wearer.<\/p>

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Portmanteau naming has itself become a chronological habit in Ziggy Chen’s recent seasons. FW23’s Viglumsy (vigorous + clumsy), FW25’s Voleisure (volition + leisure), SS26’s Pritrike (primal + strike), and this season’s Ambiepose\u2014he repeatedly compounds two seemingly unrelated, even mutually contradictory concepts to mark the central tension of each season. This is not a rhetorical game but a cognitive method: he builds each season’s material inquiry on a set of tensions.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The Designer<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Ziggy Chen was born in Wuhan in 1969. In 1990 he entered China Textile University (now Donghua University), studying fashion design in the Arts and Crafts department; after graduating in 1994 he remained as a lecturer in textile design. He later left academia for the fashion industry, and after roughly two decades of industry experience, launched his eponymous label in Paris with the AW12 collection in 2012.<\/p>

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Several directions run consistently through his design vocabulary: natural fibers (wool, linen, cotton, silk) as the primary materials; the juxtaposition of 17th- and 18th-century European garments with Chinese garments from the same eras; visual references from the Song and Qing dynasties through the Republic of China period; and a preference for traces of use\u2014he has said that many of his patterns and details are inspired by “tools, pottery, textiles, and furniture that have been used, deformed, and worn down.” His fabrics are largely developed in-house, often reworked from 17th- and 18th-century books and antique textiles in his personal collection.<\/p>

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Ziggy Chen has long held a stable presence in the world’s most demanding avant-garde retail\u2014Dover Street Market, L’\u00c9claireur, Antonioli, Isetan Tokyo, Lane Crawford Hong Kong, Maxfield Los Angeles, and Atelier New York, among others, have carried his collections for years.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The Lineage of \"Dirty Rain\"<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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If there is one traceable visual thread across Ziggy Chen’s seasons, it is not a single garment category but a family of prints\u2014a “surface of use” he has developed through varied methods. These surfaces do not pursue clarity or ornament; they simulate a trace that sits between human and natural intervention. This season, the thread’s lineage is clearly readable.<\/p>

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Last season, SS26, he named the collection Pritrike (primal + strike). In his own words, the inspiration was “rain-soaked summer walls, with their accidental marks intertwined with ink stains, generating evocative patterns of a time gone by: silent, slow, yet charged with that primordial energy.” That season’s prints diffused rain across stone and wall.<\/p>

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This year’s SS27 AMBIEPOSE names the print thread “dirty rain,” and overlays it with a “withered flowers” motif to produce a new image: dirty rain on dyed flowers.<\/p>

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The flowers are dyed first, then rained on. Dyeing is the intervention of order; rain is the intervention of nature. The surface produced by their overlap\u2014one that retains human intention while being rewritten by natural force\u2014is the metaphor for every textile in the collection.<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The Perforated Surface<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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In AMBIEPOSE, Ziggy Chen continues to explore rough, matte textures marked by a sense of use. Linen, silk, and ultra-soft cotton jersey remain the primary fabrics; openwork construction becomes a key design element, extending to denim and leather. The openwork denim seen on the runway is fine, dense, and rhythmic\u2014not a rough or distressed effect, but a precisely worked, light-permeable structure. It brings denim, ordinarily a heavy, labor-coded, direct material, into Ziggy Chen’s consistent vocabulary of lightness, breathability, and surfaces that can be penetrated by time. Natural-toned linen mesh extends the language further, creating continuity across the collection’s varied surfaces.<\/p>

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The texture of the garments does not seek smoothness or shine; it recalls pages handled repeatedly over time\u2014faded, matte, marked by natural creases and traces of use\u2014making time itself a tangible material.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The Linen Coat: The Season's Most Textural Object<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Among all the objects this season, the linen coat carries this material language most concentratedly. One dyed coat in low saturation\u2014its surface bearing diffused water-stain effects, natural creases, and large patch pockets\u2014constitutes a form that reads as if it has been worn repeatedly. The material qualities of the coat map directly onto the designer’s position this season: not preset to any single context, intended to become an everyday object.<\/p>

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Linen itself is a fabric that refuses categorization by occasion. It does not preset formality like suiting fabric, nor athletic use like performance textiles\u2014it is a natural, everyday, life-marked cloth. Once dyed, diffused, and marked by natural creases, it becomes the most direct material carrier of AMBIEPOSE’s insistence on the everyday.<\/p>

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The linen vocabulary this season is not limited to the coat. A striped shirt, natural-toned shorts, and cross-back suspenders together compose something close to workwear\u2014but without workwear’s functional tension, reorganized in a looser register. It extends even to the head: a bonnet, tied under the chin at both sides, brings the designer’s long-running juxtaposition of Eastern and Western historical garments onto a headwear detail this season.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Another Kind of Slow<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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AMBIEPOSE reflects a slower pace of living. The term “slow living” has been over-consumed in the past decade\u2014from the aestheticized slowness of the 2010s Kinfolk moment, to the pandemic-era revival of the domestic, to the current slow luxury vocabulary\u2014and has largely collapsed into visual style or consumption-cycle rebranding. The “slow” Ziggy Chen proposes this season sits in neither camp. It is slowness at the material level: the diffusion of dye, the natural creases of linen, the light passing through openwork, the matte weight of a page. These specific material treatments preset “already used” into the garment’s finished state, rather than leaving it for time to complete.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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AMBIEPOSE is the portmanteau he coined for the season\u2014ambience combined with purpose. 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