The design series is developed through a combination of digital photography, classical photographic printing processes, and garment forms. Its thematic inspiration originates from an analytical and reflective examination of love. In Lacan’s Psychoanalysis of Love, Lacan argues that the demand for love, in its attempt to prove love itself, erases the singularity of all things. As a result, existence is degraded and reduced to conflicts arising from the demand for love, a process that is fundamentally unethical. For a narcissistic subject, what is perceived as love for others is in fact a form of hatred, or even a drive toward destruction.
As a socialized emotion, love often contains elements of idealization and may even function as an illusion. This project investigates “self-projection” within love, proposing that love is frequently not directed purely toward the other, but rather reflects one’s own needs, desires, and ideals. Photography is chosen as an auxiliary medium for expressing the theme of “abstract thinking on love” due to its immediacy, its fusion of reality and illusion, and its sensitivity to mirroring and reflection. Through photography, the abstract concept of love is transformed into a concrete visual expression, which is then further articulated through the language of fashion.本设计系列是结合数码摄影、古典印相和服装形式开展的，主题灵感来源于对爱的分析反思。在《拉康对爱的精神分析》一文中提及拉康认为对爱的需要为了证明爱情，将所有事物的独特性也消除了，因此，存在也被降级了，变成了对爱的需求的冲突，而这种过程根本就是不道德的。一个自恋的人，其所认为的对他人的爱，其实是对他人的憎恨甚至毁灭。
爱作为一种社会化的情感，往往包含了理想化的成分，甚至是一种幻象。这一主题探讨了爱之中的“自我投射”，即爱往往不是单纯地指向他人，而是自我需求、欲望和理想的折射。选择摄影作为“爱的抽象思考”这一主题的辅助表达媒介，是基于摄影的即时性、真实与虚幻的结合、以及对镜像和反射的敏感。通过摄影，爱这一主题可以被从抽象转化为具体的视觉表达，再通过服装的形式进行展现。