The Bite Magazine - Spring/Summer 2025 - Issue 37

bitefashion K-U-O-W-E-I INFDARK Jada Brookes delves into the creative minds of INF founder and designer Kuo Wei, whose deconstruction creates intriguing dual silhouettes. T aiwanese designer Kuo Wei revealed he’s liked to decorate since childhood, whether it’s himself or other people. “From that, I see things from different perspectives. I’m always wondering how to start my trends whenever I look at fashion today,” he told Strand Magazine in March. He launched his cultural and artistic avant-garde brand INF (In Name of Father) before graduating from Shih Chien University in 2011, designing uniquely tailored garments for the rebels and free spirits. Despite its conceptual leanings, INF is grounded in meticulous craftsmanship. Every garment is made in Taiwan, with architectural tailoring, clever con- struction, and emotional resonance. Wei’s design background and obsessive attention to detail are evident in the pleat movement, surprising seams and carefully chosen fabrics. The brand could be described as a conceptual laboratory, a philosophi- cal playground, and a profoundly personal transfor- mation archive. Its deconstructions are cultural assumptions with reimagined silhouettes through hybrid pieces like bags morphed into t-shirts or skirts converted into trousers. This multi-wear ethos is a sustainable manifesto: “We live in a world of flux,” Wei said. “Why shouldn’t our clothes reflect that?” He added, “By giving clothes multiple identities, we’re offering more than a fashion item; we’re offering adaptabil- ity, longevity, and a way to reduce waste.” This ethos resonates with Asian designers who are rethinking sustainability. Instead of focusing solely on recycled materials, INF tackles waste at the design stage by making garments that evolve with the wearer and resist obsolescence. They are less concerned with seasonal trends and more about storytelling, craftsmanship, and cultural remixing. Its ability to blend Taiwanese folklore, religious ico- nography, and pop culture into layered, cinematic designs sets INF apart. In this way, the brand contributes to a borderless fashion dialogue where East and West aren’t oppos- ing forces but collaborators in a shared aesthetic experiment. This approach aligns with a growing movement in Asian fashion where designers are