Fashion designer is an occupation that needs imagination and passion, while fashion design is a form of expression using structure, silhouette, fabric, texture and other different aspects as technique to express one’s feelings and ideas to the audiences.

Holiday Lu was inspired by a film called <Midnight in Paris>. The scene in the movie is her dream city. She felt the wisdom of the end of the 19th century, which has not only a deep history but also has an artistic background. Therefore, in terms of structure, she did not use common structures, but trying to make certain innovations, such as getting rid of the shackles of long skirts that a feeling between dresses and ordinary skirts. She found the costume and the different areas about Paris. She deeply felt the breath of that era and thought to express it in a novel way, not in a cumbersome way, but in minimalistic ways.

In the collection of <Comedy>, she was inspired by the comedy movies and variety shows, which made her feel bitter. Therefore, she thought about the true meaning of comedy from another angle and tried to explore the aspects that people ignore in life. She researched the clothing of the 1930s. The dresses of the upper-class figures and the materials worn by the lower-class figures are very sophisticated. And the inspiration of the silhouettes is from the actions, performances, and props of the comedy movies.

In these works, she hopes that the audience can know the reasons why things happen. More importantly, the audiences can find many details and things around them and start to think from the other side. The spiritual level is where we often ignore.

服裝設(shè)計師是一個需要想象和激情的職業(yè)。服裝設(shè)計是一種嘗試使用結(jié)構(gòu)，輪廓，面料，質(zhì)地和其他不同方面向觀眾表達感覺和想法的形式。

陸釔的靈感來自一部名為《巴黎午夜》（Midnight in Paris）的電影。電影里的場景就是她的夢想之城。她在19世紀末期其中感受到了世俗的智慧，這不僅具有悠久的歷史，而且具有藝術(shù)背景。因此，在結(jié)構(gòu)上，她沒有使用當(dāng)時的服裝，而是進行了一些創(chuàng)新，例如擺脫了長裙的束縛，這種束縛使裙子和普通裙之間變得不一樣。她找到了巴黎附近的服裝和不同地區(qū)，深刻地感受到了那個時代的氣息，并想以一種新穎的方式來表達它，不是以繁瑣的方式，而是以簡約的方式。

在<喜劇>的系列中，她受到喜劇電影和綜藝節(jié)目的啟發(fā)，她從這些節(jié)目中感受到了辛酸。因此，她從另一個角度思考了喜劇的真正含義，并探討了人們生活中忽略的方面。她調(diào)研了1930年代的服裝。上層人物的著裝和底層人物所穿的材料是非常精致的。她又從喜劇電影的動作，表演和道具中衍生出服裝的輪廓。

她希望在這些作品中，觀眾能夠理解事情發(fā)生的原因。更重要的是，觀眾可以觀察到周圍許多細節(jié)和事物，并想到另一面。精神層面，是我們經(jīng)常忽略的。