Through her achievements in the world of fashion, that is to say the world of visual and aesthetic representations as a philosopher, Sophie Hong definitely makes a mark in the impermanence of time: a cycle of creation, then dissemination and saturation, followed by extinction and renaissance. 'Thought' may happen to be rooted in fashion events, but in an unrivalled way, Sophie Hong gives them their full momentum. It would be wise if an incessant spirit of novelty were refrained, as well as the Aristotelian mark and model approving of ever-changing forms. For us,Western Thought endowed with Reason leads the way and prevails, while Asia and the East refer to 'the Other', as synonymous with comfort and well-being. These are Sophie Hong's pursuits. Priority is given to matter, which in itself gives meaning to forms or presentations. It stands as a challenge to the passing of time and shows the continuity of countenances in human faces and the garments they wear.

As a reference, the painting by Jean Denis Attiret, a Jesuit painter at the Chinese Empress's Court titled'La Concubine' also known as 'the Chinese Joconde', shows how East and West could conciliate through universal principles and objects as did Leonardo da Vinci.

So, time is not disposed as expected in costumes / garments by Sophie Hong, which are timeless and composed of quality materials, formal and faultless in their appearance. In terms of history and tradition, Sophie, uses the 'kuru' pigment, previously used during the Song dynasty to create special coloration. Here, with the use of the "kuru" pigment, Sophie Hong designs very unique reversible black or brown/red fabrics for her clothing. In a 2003 publication on clothing styles, Paola Zamperini remarked that Sophie Hong makes Taiwanese fashion fit into a long historic tradition, refusing the short-lived instances and standards of modernity. Garments of the Far East are indeed central, showing the human species as different from that of the animal kingdom. Confucius recognized the strict clothing code, to describe social differences and class status.

A point to be noted: writing itself, ideographic writing, translating the word 'origin' (the origin of everything!) is composed of two Chinese characters 'material' and 'scissors'! A relationship is therefore established with tradition, while the ephemeral modern Western world reveals itself deficient. It becomes an anthropological issue. When we search for a meaning, we search for creativity and workmanship, which are of prime importance. They become 'universal'. In the current context of modernity, garments have lost their complex original meaning. Confucian 'Li', respecting the social hierarchy dominated through clothing, found that it could also be applied to other contexts than those of garments, but Confucian heritage still remains valid. Sophie Hong, given her superior skills creates clothing of uncommon description: they are highly ranked and the French mark "signifié" or "outstanding" is applied. The enhancement of the body, its forms and models is not Sophie's quest. Neither is she interested in dealing with ephemeral effects,even if Western Thought frequently highlights body and sensuality.

Sophie Hong considers matter of primary importance and shape of secondary importance. Her basic productions often come from local crafts, supported by traditions, precious designs and materials. Yet, place, time, space, or any formal visual or aesthetic representation becomes unimportant to Sophie's spirit of immutability.

Clothing like costuming is an art form: fine clothing enhances an individual, in the same way that a sculptor enhances stone. Thus, fabric can be sewn into clothing yet is worn as 'matter'. It is used and crafted, and it becomes unique, unlike industrially produced garments. Representations which were first synonymous with ephemeral occurrences have thus become examples of man and his origins: he stands out beyond the animal kingdom, becomes universal, is made of 'matter' and is dressed in 'matter'. This is the source of a very real language; a language executed by Sophie Hong through her creations and which connect to our origins. Sophie Hong's creations "Speak out" . Her approach and her language remain simple. To quote Sophie Hong: "I like to use designs and materials from the past, traditional models and forms which can adapt to modern tastes and needs."

Translator: Jui Chu Tung / Ph.D,Philosophy University of Burgundy / Franche-Comté Besançon