台北某個寵物展的會場地板上，一條伸展台被鋪了出來。走在上面的，是貓或狗。站在旁邊的，是周裕穎。
這件事本身就是一個宣言——不是用文字寫的那種，是用場地和身體寫的。時裝的載體一旦換掉，整個討論的前提就跟著鬆動了。
伸展台存在於任何空間
周裕穎進過國際時裝週，這個背景很關鍵——因為這次跨界不只是「設計師玩票」，而是有位置的人主動選擇走去另一個場域。JUST IN XX 的美學向來是概念先行、視覺語言強烈，這樣的設計系統搬進寵物展，產生的不是稀釋，而是對比張力。
展場的觀眾不是來看時裝週的人。帶著推車來，推車裡坐著一隻柴犬或一隻布偶貓。對前衛美學的接受程度完全未知。這才是這件事有趣的地方：設計師的語言，在一個它「不應該出現」的地點被測試。
寵物在台灣的位置
台灣的寵物文化已經走到一個特定的位置：寵物是情感延伸，不是附屬品。這不是說教，這是消費行為。寵物餐廳、寵物友善飯店、寵物推車——這些服務存在，是因為有人願意花錢讓動物進入自己的生活空間，而不是把動物留在家裡。
這個前提，讓「寵物時裝伸展台」在台灣成立，在某些其他市場則可能只是噱頭。不是台灣「特別有創意」，而是這裡的市場條件剛好讓這種組合能夠落地——寵物展的規模夠大、設計師的知名度夠高、觀眾對跨界的接受度夠廣。三個條件同時成立，這件事才有意義。
聯名推車是一個物件
展昭寵物展 × JUST IN XX 的聯名推車，是這次合作裡最值得細看的部分。推車是功能物件，但設計師的介入讓它變成一個被攜帶在人身上的宣示。推著它走，就在替某種美學站台。
時裝從來都不只是布料，這個道理老生常談。但當它被應用到寵物推車，老道理就有了新的測試場。推車的主人不一定讀過任何一篇時裝評論，但選擇了這個推車，選擇把設計語言帶進了展場的人潮裡。這個動作，比任何伸展台上的走秀都更接近「時裝如何在日常裡流通」的本質。
「這是認真的嗎」
這個問題每次出現在時裝史上，都值得記一下。超短裙第一次出現時有人問。球鞋進入正裝搭配時有人問。現在，寵物走上伸展台，同樣的問題又被提出來。
問題本身不關鍵。關鍵的是，下一次這個問題再出現，腦子裡的「合理範圍」又會比今天大一點。周裕穎 2026 年做的這件事，效果不在當下的話題，在之後的默許。
— 姚宇
延伸閱讀
The Runway Goes Where You Take It
A runway was laid out on the floor of a pet expo in Taipei. The ones walking it were cats and dogs. The one standing beside it was Justin Chou, the designer behind JUST IN XX.
That image is the whole argument — no manifesto needed.
A Designer With Credentials, Choosing to Leave the Room
Justin Chou has represented Taiwan at international fashion weeks. That context matters. When someone with that positioning chooses to bring work to a pet expo, it isn’t a retreat. It’s a deliberate displacement. JUST IN XX’s visual language — concept-heavy, formally sharp — doesn’t dissolve when it enters a different space. It creates friction. And friction is where something interesting happens.
The audience at a pet expo didn’t come for fashion. Strollers carried a golden retriever or a ragdoll cat. Tolerance for avant-garde aesthetics is completely unknown. That’s the test. A design system, running in an environment it wasn’t built for.
What Pets Are in Taiwan Right Now
Taiwan’s pet culture has reached a specific threshold: animals are treated as emotional extensions of a household, not accessories to it. This shows up in spending behavior — pet-friendly restaurants, hotels that accommodate animals, strollers designed so that owners don’t leave pets behind. These services exist because spending happens, consistently, at scale.
That’s the condition that makes a pet fashion runway land in Taiwan in a way it might not elsewhere. Not because Taiwan is uniquely creative — but because the market structure here happened to allow the combination to make sense: a pet expo large enough to hold it, a designer recognizable enough to anchor it, an audience open enough to receive it. Remove any one of those factors and the event becomes a stunt.
The Collaborative Stroller Is the Real Object to Look At
The co-branded stroller produced for the JUST IN XX × 展昭 collaboration is the most telling piece of the whole project. A stroller is a functional object. When a designer’s visual language is applied to it, it becomes something carried into a crowd as a statement. The owner pushing it doesn’t need to have read a single piece of fashion criticism. Moving through the expo floor happens as a mobile endorsement of a design sensibility.
That’s closer to how fashion actually circulates in daily life than anything that happens on a formal runway. The stroller is out there among the crowd, not elevated above it.
The Question That Keeps Returning
“Is this serious?” gets asked every time fashion moves into a new territory. Sneakers with suits. Sportswear as eveningwear. Now: a pet on a runway. The question is never the point. The point is that each time it gets asked and answered, the boundary of what counts as a legitimate carrier for fashion moves outward by a notch.
What JUST IN XX did in 2026 won’t be remembered for the spectacle alone. Memory — if it comes — will attach to the quiet permission extended to whatever comes next.
— 姚宇
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