Eaten (2018)Live Performance

Designer & Stylist: Betty Liu

Photographer: Ruby Jurecka, Betty Liu

Performers: Jane Goh, Aly Zhang, Sue Park, Victoria Wang,

Judy Tran

Makeup Artist: Cate Chen

Hair Stylist: Sabrina Fetterkind

Food Stylist: Teresa Zheng 

Eaten was a collaboration with fashion practitioner Claire Myers’ Close Encounters of the Third Party. Models were seated down facing a round table of food. Twins wearing Myers’ mesh clothes slowly

approached the table, circling around the participants; they touch the seated performers’ hair, spin the turn table, crushed the prawn crackers, twisted the fish head, threw the chicken feet,

cucumbers fly across the table, the sound of porcelain plates clash against each other. The seated performers watch silently as the food is destroyed, their arms bound against enclosed sleeves.

Then, they leave.

Live Performance (10 min)

Shown at Open House

Open House was an independent graduate exhibition celebrating the works of 8 emerging Melbourne fashion practitioners.

Eating the Other (2018)

Designer & Stylist: Betty Liu

Photographer: Jess Brohier

Models: Jessie Su, Panda, Debbie, Yu

Makeup Artist: Chloe Rose

Hair Stylist: Sabrina Fetterkind

Eating the Other (消费他者) borrows theorist Homi Bhabha's concept of 'Mimicry' and Edward Said's 'Orientalism' to explore the cultural representation of the East in the West. This series features body worn pieces that invoke stereotypical silhouettes of the West's perception of China. The infamous plaid print on cheap synthetic travel bags has been reworked with texts printed, ‘Made in the Orient’ and ‘东方特产’ (Oriental specialty) to look at the West's perception of China as the world's mass manufacturer of fast, cheap goods while romanticising its origins as exotic and foreign. Other text prints are utilized in ribbon labels and ombres to reproduce the stereotypical qualities the West has assigned to Chinese culture. Through the act of mimicking the West's idea of China and Chinese women in my work, Western power can be undermined as it can expose the artificiality of these contrived stereotypes seen in Western media.

Bodies (2015-2017)

Designer & Stylist: Betty Liu

Photographer: Mary Chen

Models: Ewan Clarke-McIntyre, Tamara K Rohe

Bodies looks at the celebration of natural beauty and pushes the boundaries of clothing silhouettes, questioning why should we only wear clothes that slims the body down.

Stuffed (2017)

Designer & Stylist: Betty Liu

Photographer: Darcey Taylor-Morrison

Models: Ailene Wu, Naomi Esmeralda, Abby Keep, Katherine Knight

Makeup Artist: Hannah Cheng, Eileen Yan



Photographer: Mary Chen

Models: Ruby Jurecka, Kaavya Sivakumar

Makeup Artist: Chloe Rose



‘Stuffed’ is a series of multifunctioning prototypes commenting on the culture of disposable waste and mindless materialistic consumption.

The entire series is made from clothes, bed sheets and tablecloths that have been donated and collected from friends, family and secondhand stores. although the reinvention of old clothes is not a new concept, this is the core idea of ‘stuffed’ due to the scarcity of this method being replicated in the fashion industry and their support for using reclaimed clothes in design. The iterations in ‘stuffed’ perform more than one function to offer the possibilities of reusing discarded items that are no less inventive, usable and functional than store bought products made from virgin materials.

After-Print (2017)

Designer: Betty Liu

Styling direction: Betty Liu

Photographer: Jess Brohier

Models: Agot Dell, Sarah Alex, Emmnuek Arnold

Make up and Hair: Gabby Webb 

'after-print' is a trilogy of body works that explore nature from the sight perspective of bees as an effort to raise awareness to colony collapse disorder (CCD), a phenomenon that has drastically impacted the bee population in North America and Europe. The disappearance of honey bees is comprised of various complex factors that contribute to the negative decline of their health and population collapse, with the most notable being Neonicotinoids; this insecticide is found in a vast majority of food crops and bees come into contact with this are less resistant to diseases and have weakened senses, causing difficulty to navigate their way back to the hive. In order to raise public awareness of CCD, ‘after-print’ employs the afterimage phenomenon, where the viewer's eyes would simulate an image of what it was looking at previously against a white space but with negative colours instead. The afterimage disrupts the viewing experience as the viewer has to reorient themselves upon seeing the phantom colour.

The afterimage phenomenon not only replicates the sight difference between bees and humans (bees have a broader range of sight than humans, extending into the ultraviolet spectrum) but create an active viewing experience where viewers can relate to the disorientation of the bees' eyesight and their weakened genetic defences caused by CCD.

Complementary to the ‘after-print’ trilogy is the sculpture ‘Hive’. Hive is completely smocked to mimic hollow honeycombs; with the size being an exaggeration of actual hives to represent the severity of CCD. The use of white not only serves the afterimage illusion but also illustrates the empty and deserted hives by the honey bees’ disappearance.

Sum of Parts (2016)

Designer: Betty Liu

Photographer: Jess Brohier

Make Up and Hair: Maddison Ponting

Models: Ellen Louise Ryan, Lili Steele

Sum of Parts explores the intersectionality of individuals through the lens of skin and body part transplant. The use of latex, mesh, dissolveable thread and non-wovens is utilised to question how much can you lose before you lose yourself? Are we defined by the parts we are given?

The collection challenges the distinction we place on one another— are we really individuals or just beings ultimately connected to one another? Do we lose our identity by the stripping of our physical body that is then transplanted to someone else?

A Timely Paradox (2016)

Designer: Betty Liu

Photographer: Betty Liu

Make Up and Hair: Betty Liu

Models: Ailena Lei

'a timely paradox' explores the hypothetical existence of wormholes, the paradox of time travel, and time dilation, using tailoring techniques.

Existence Precedes Essence (2015)

Designer: Betty Liu

Photographer: Alison J Gurry

Make Up and Hair: Zoe Jane Crawford

Models: Victoria Wang

‘existence precedes essence’ challenges the notion on jean paul sartre’s claim that inanimate objects have an essence that precedes their existence. The collection explores how while inanimate ‘garments’ should inherently have an essence before their existence, as the ‘garments’ are to be used by a host, it’s up to the host, whose existence precedes their essence to define the existence of these ‘garments’- for they do not follow the traditional codes of clothing. The designer’s role (in this collection) is not to give an essence; purpose, to the ‘garments’, but rather give hosts the oppotunity to define the existence of these garments because each person has the ability to create their own individual essence.