衣物作為「皮膚的皮膚」，除了保暖禦寒等基本功能外是在尚未接觸前推測他人性格的依據之一，同時也是人們的自我物透過物質具象化的第一層表現，對於每一個人在日常生活上無疑有著十分重大的影響。然而生活在社會中就勢必會受到各式各樣規則的束縛，除了法律的規定外，各種文化社會有著許多不同的行為規範，什麼樣的性別應該如何穿著；什麼樣的身份又應該如何打扮，這些限制加諸在人們身上，也侷限了人們發掘更多可能性的機會。面對這樣的社會環境中的挑戰自然而然也衍生出了許多社會議題。

結合以上現象以及本身對於影像的興趣，得出本創作的主要命題：透過攝影影像的展出以及互動設計的展覽來讓觀展人能夠結合自身生命經驗的回顧進而思考何謂正常與何謂不正常的穿著，又會如何解讀本次的展覽以及穿著於一個人的意義，希望藉此，在衣物所帶有性別屬性已經逐漸模糊的現今，能夠促成一個不只是能尊重差異更甚至是欣賞各種獨特可能的社會環境。

As skin of skin, clothes can function as body warmer, as basis of judgement, and as the material symbolization of one’s self; therefore, clothes can undoubtedly cause a major impact on one’s daily life. However, except for laws, there are various social and cultural rules restraining how people should dress themselves, and what male or female should wear. Under this circumstance, the possibilities of people exploring themselves are restricted, and these limitations derivatively result in diverse social issues.

According to the above mentioned phenomena and the interest in photography, the main purposes of this exhibition are to prompt viewers to contemplate what are so-called normal or abnormal ways of dressing with their experiences, and the meanings of clothes to everyone through displaying a collection of portraits featuring five models. If possible, this project can bring out the issues about people respecting others’ differences and appreciating every distinct possibility.

V 太太（2020 年 8 月 18 日）。〈穿低胸為何「母湯」？女性自主權與男性特權的衝突〉，《鳴人堂》。 取自https://opinion.udn.com/opinion/story/120732/4790786

朱瑞玲、章英華（2001，7 月）。〈華人社會的家庭倫理與家人互動：文化及社會的變遷效果〉，「華人家庭動態資料庫學術研討會」，臺北市。

黃俊傑（2005）。〈東亞儒家思想傳統中的四種「身體」：類型與議題〉，《法鼓人文學報》，2，5-24。

劉北成等譯（1992）《規訓與懲罰：監獄的誕生》。台北：桂冠。（原書：Foucault, M.[1975]. Discipline & Punish: The Birth of the Prison. French:Gallimard.）

劉恩任(2005)。身體政治的詮釋與批判—女性身體之在地體現。【國立中山大學 政治學研究所碩士論文】，未出版，高雄。

盧珮瑤 (2017)。<自己身體 自己話事? : 從 PTGF 看女性身體自主>，《文化研究@嶺南》，61，檢http://commons.ln.edu.hk/mcsln/vol61/iss1/5/。

Zanele Muholi｜藉著攝影改寫南非黑人酷兒及跨性別的視覺歷史(2020 年 4月)。驕陽基金會。取自 https://sunpride.hk/zh/zanele-muholi-%e8%97%89%e8%91%97%e6%94%9d%e5%bd%b1%e6%94%b9%e5%af%ab%e5%8d%97%e9%9d%9e%e9%bb%91%e4%ba%ba%e9%85%b7%e5%85%92%e5%8f%8a%e8%b7%a8%e6%80%a7%e5%88%a5%e7%9a%84%e8%a6%96%e8%a6%ba%e6%ad%b7/

Amnesty International(2010). Women’s right to choose their dress, free of coercion.

Amnesty International. Retrieved from https://www.amnesty.nl/content/uploads/2017/02/womens_right_to_dress_boerk averbod_3.pdf?x68187

Brockman, J & Wyandt-Hiebert M.(2014). What Were You Wearing. Arkansas.

Osula, N.(2016). The Portraiture’ series. Nigeria.

Cerini, M. (2019, 7). Noma Osula, The Photographer Challenging social norms in Nigeria. CNN. Retrieved from https://edition.cnn.com/style/article/noma-osula - phtographer/index.html

Bovone, L. (2003). Clothing: The Authentic Image? The Point of View of Young People. International Journal of Contemporary Sociology, 40, 205-218.

König, A. (2008). Which Clothes Suit Me?: The presentation of the juvenile self.

Childhood, 15(2), 225–237. https://doi.org/10.1177/0907568207088424

Kwon, Y.-H. (1987). Daily Clothing Selection: Interrelationships Among Motivating Factors. Clothing and Textiles Research Journal, 5(2), 21–27. https://doi.org/10.1177/0887302X870050020

Mitchell, L. (2019, 8). Noma Osula on capturing the beaty of Africa. Design Indaba. Retrieved from https://www.designindaba.com/articles/creative-work/noma- osula-capturing-beauty-africa

Nussbaum, M. C. (2000). Women and human development: The capabilities approach. Cambridge: Cambridge University Press.

Ramachandran, G. (2006). Freedom of dress: State and private regulation of clothing, hairstyle, jewelry, makeup, tattoos, and piercing. Maryland Law Review, 66(1), 11-93.

United Nations(1948): Universal declaration of human rights. Retrieved from. https://www.un.org/en/universal-declaration-human-rights/index.html