2017-2021 本科就读于北京服装学院，考入服装与服饰设计专业实验班。

    2018及2019年参与两届全国大学生英语竞赛（NECCS），并分别荣获英语D类全国一等奖和特等奖，于2019年8月代表学校参加全国夏令营总决赛。

    2018年作为志愿者参与北服承办的IYDC国际设计邀请赛，协助英国设计师获得金奖。

    2019及2020年两次荣获一等奖学金。

    2019年入选BIFT- CSM交换生项目。

    2020年参与BIFT- MMU国际工作营项目，设计被选入优秀作品，获得Victoria Beckham品牌面料赞助，参与时尚电影拍摄。

    参与 “外研社杯”英语阅读及写作能力竞赛荣获一、二等奖。

    2020年发表文章刊登于北京服装学院《高教研究》。

    2021年入围美国AOF青年设计师大赛。

    2021年以总分第一的成绩考入清华大学美术学院染织服装设计系服装设计专业，攻读研究生学位。

From 2017 to 2021, I studied in Beijing Institute of Fashion Technology as an undergraduate and was admitted to the experimental class of Fashion and Costume Design.

In 2018 and 2019, I participated in two Sessions of National English Competition for College Students (NECCS), and won the national First prize and the Special prize of English CLASS D respectively. In August 2019, I represented my school to participate in the National Summer Camp Finals.

In 2018, I participated in the IYDC International Design Invitational held by BSC as a volunteer and assisted British designers to win the gold medal.

I won the first-class scholarship twice in 2019 and 2020.

In 2019, I was selected to bifT-CSM exchange student program.

In 2020, I participated in bift-MMU International Work Camp project, and my design was selected as excellent work. I was sponsored by Victoria Beckham and participated in fashion film shooting.

Participated in "FLTRP Cup" English Reading and Writing Ability Competition and won the first and second prizes.

In 2020, my article was published in Higher Education Research of Beijing Institute of Fashion Technology.

In 2021, I was selected for AOF Young Designers Competition in the United States.

In 2021, I was admitted to the Fashion Design major of Dyeing and Weaving Fashion Design Department of Academy of Fine Arts of Tsinghua University with the highest score, and studied for a postgraduate degree.

作品名称：老生常谈 Cliche

作品材质：纺织面料  Textile Fabric、

 学者马未都先生提出的“病态化审美”概念中，位于审美链顶端的代表物件由于受到审美主体的主观改造，变得或形态怪异、或出现病理状态。这是由于君权社会下，两性审美发展极不平衡，导致对人体病态化的审美需求基本都来自男性，而审美的对象则主要是病态化的女性形象。西方也有类似的审美历程，以女子“丰臀”和凹凸有致的曲线为美，都是男性审美占据主导地位的体现。实际上，这些病态化的社会现象不仅仅存在于古代。在当今社会同样存在类似的“病态延续”—高跟鞋和过分追求的骨感美是不是新时代的缠足和细腰呢？当这些现象逐渐形成社会上的主要审美偏好时，又未尝不是一种新的病态化的审美需求。

       基于此，我希望用设计呼吁人们关注病态美的滋生土壤。只要这个社会是基于这种不平衡的性别建构之上，病态化的审美观就会一直存在。因此，在设计中我运用形象同构、夸张变形等视错艺术手法，选取了清代文化中的五个代表意象——金鱼、盆景、假山、鸟笼、瘿木与服装同构，刻意在廓形设计上将扭曲歪斜的特征放大来探究其独特的艺术价值，引导人们受到视觉刺激的同时反思背后的文化渊源，呼吁当代两性审美标准平衡发展。

In the concept of "pathological aesthetics" proposed by the scholar Ma Weidu, the representative objects at the top of the aesthetic chain become strange or pathological due to the subjective transformation of the aesthetic subject. This is because under the monarchy society, the aesthetic development of both sexes is extremely unbalanced, resulting in the aesthetic demand for the morbid human body basically comes from men, and the aesthetic object is mainly the morbid female image. The west also has a similar aesthetic process, with women's "rich buttocks" and concave and convex curves as the beauty, are the embodiment of male aesthetic dominance. In fact, these pathological social phenomena did not exist only in ancient times. There is a similar "pathological perpetuation" in today's society - are high heels and overly skinny beauty the new age of foot binding and thin waists? When these phenomena gradually form the main aesthetic preference in society, it is also a new morbid aesthetic demand.

Based on this, I hope to use the design to call people's attention to the breeding ground of pathological beauty. As long as the society is based on this unbalanced gender construction, the pathological aesthetic will always exist. Therefore, I use in the design image isomorphism, exaggerated deformation, etc as the wrong art gimmick, selected the five of the culture in qing dynasty on behalf of the image - the goldfish, miniascape, rockery, birdcage, gall, wood and clothing isomorphism, deliberate distortion will be skewed in profile design features amplification to explore its unique artistic value, guide people by visual stimulus at the same time reflecting on the culture behind the origin, It calls for the balanced development of contemporary aesthetic standards for both sexes.