NEW SUITS
NEW SUITS is a conceptual performance and design project that critically examines the intricate relationship between consumers and commodities through the lens of modern “consumption.” At its core, the project aims to unveil the metaphorical “empty suit” of the commodity economy—a suit polished and mass-produced to satisfy insatiable vanity, yet hollow in essence. In our industrial and hyper-consumerist age, consumption is no longer driven solely by need, but by a desire to be symbolically fulfilled. Commodity symbols—such as the seemingly endless stream of fashionable “new suits”—are created not merely for utility, but for self-labeling. They function as badges of status, taste, or lifestyle, feeding the illusion that material goods can define who we are.
But a series of deeper questions remain: Do we truly need those new suits? What are they actually giving us? And what does the life we strive for—layered with symbols, brands, and images—really mean?
Inspiration
The idea for NEW SUITS emerged from a personal moment of reflection while wandering through a massive shopping and leisure complex—one of many cathedrals of modern consumption. Amidst the dazzling storefronts and carefully designed retail experiences, I found myself grappling with unexpected questions. Why does this act of shopping make me feel happy? Why do advertisements and displays compel me to make irrational purchases, often leading me to lose control of my own desires? Why have I, once more attentive to quality and substance, begun to long for brands and luxury goods? These observations became the spark for a critical inquiry into the performative and psychological dimensions of consumer culture.
Theoretical Reference
The conceptual grounding of NEW SUITS is heavily inspired by Guy Debord’s The Society of the Spectacle. Debord argues that in contemporary society, consumption is driven not by necessity but by spectacle—an illusion of satisfaction constructed through images. As he famously writes, “The spectacle is not a collection of images; it is a social relation among people, mediated by images.” Within this logic, individuals are no longer recognized by what they do or what they believe, but by what they show—what they wear, display, and consume.
Debord further outlines the trajectory of personal development in this spectacle society as moving from being, to having, to showing. The self is gradually alienated, replaced by curated symbols, brand affiliations, and imposed identities. This process undermines authentic human connection and expression, reducing individuals to passive participants in a reality mediated by visuals.
Design and Visual Language
In the design and research phase of NEW SUITS, visual metaphors became central to articulating the project’s critical perspective. The shopping bag—a familiar and benign object—was dissected into two symbolic components: the “body” and the “handle.” These fragments were used to construct typographic experiments and negative space compositions, later evolving into the stylized “price ribbon” motif used throughout the performance visuals.
This design element evokes the idea that every consumer interaction is pre-wrapped in symbolism. The shopping bag is not just packaging—it is a visual cue, a carrier of brand ideology, and a marker of participation in the spectacle.
Symbolic figures are embedded within the visual narrative: the “blinded crown” represents the consumer enthralled by praise and aesthetic focus, unable to discern truth—much like the emperor in The Emperor’s New Clothes. The “immaterial” ribbon signifies the invisible weight of debt, the aftermath of overconsumption, and the emotional void that lingers after the spectacle fades.
Ribbon Design and Thematic Imagery
The NEW SUITS ribbons extend this symbolic discourse. They chart a descent in personal and social values: from authentic relationships based on love and family, to shallow interactions driven by mutual interests and appearances. Each ribbon theme maps a specific trajectory of consumer culture: “Fashion” equates price tags with perceived social value; “Beauty” traces the shift from self-care to cosmetic obsession; and “Fame” highlights how influencers adopt and perform commodified identities to attract public attention.
Emotional Arc — CROWN & INSIDE
The inner emotional landscape of the protagonist in NEW SUITS unfolds in a four-part progression—Curiosity, Obsession, Ambivalence, and Collapse. It begins with the character looking into the mirror, adorned in their new “landscape” suit, enchanted by its novelty and potential. As the performance evolves, vanity and external validation lead the character into a spiral of obsession, consumed by public praise and symbolic success. Eventually, ambivalence creeps in—a sense of emotional dissonance and discomfort with the image they project. Yet, they feel powerless to return to a more authentic self. Finally, the facade crumbles. The fragile symbolic world collapses under the weight of debt, emptiness, and disillusionment.