Tsung yun hsieh design process portfolio compressed

YUN. XIE. Design Process Portfolio Revolution Over Sexual Constraint

2017

Tsung-Yun Hsieh

contents

Autobiography

p.04

Introduction

p.08

Design process from week1 to week9

p.12

Conclusion

p.66

Bibliography

p.70

Image References

p.71

Images Appendices

p.76

Appendices - Design Process Map

2

contents Design process from week1 to week9

P.12

P.18

P.22

P.32

P.38

P.44

P.50

P.54

P.60

3

(Hsieh, 2016)

4

Autobiography The origin and the foundation I discovered my interests in art and design early in junior high school. I received many awards including some for oil paintings and graphic designs in junior high school. I have acquired certificates including level b for graphic art and layout design, and international certificate for advertising design. And my interest in hand drawings also helped me in this field. In college, my major was advertising.

This allowed me to utilise relevant skills in graphic design and 3D design with programmes such as adobe illustrator, and CAD. In NYC I decided to go to New York City for a 6-month language programme after college. Fashion is everywhere in NYC. At the time, some Chinese fashion designers including Jason Wu and Alexander Wang were emerging. The design from both of them embedded some eastern elements but expressed in a totally different way. I also visited some fashion shows and art museums. I also visit 2014 ss New York fashion week, noticing how influence fashion designers in humanism. All the related social topics, such as economy, environment, and racism could be the material for fashion designers, and they could further lead the trend. Fashion could be very influencial. This further strengthened my interest and passion in fashion design.

Earlier fashion design related career Once I returned to Taiwan, I worked in the CAL Studio as a graphic designer for 6 months. I’ve learned more regarding the fashion industry from purchasing, retail store management, image design, visual design, and fashion design. In order to focus and further refine my skills in fashion design, I decided to go back to school.

Design courses in Shih-Chien University I took a 9 month fashion design programme in Shih-Chien University, which has the best reputation for fashion design in Taiwan. I successfully showcased a collection in the graduation fashion show in December 2015; where my work was awarded as the best printed design. I learned a lot, from conceiving designs, preparing sketches, choosing fabrics, making patterns, and eventually showcasing my work in the fashion show. I successfully combined folds and heat transfer printing into my work, after trying more than 10 different kinds of fabrics.

5

The pursue of Master in GSA Influenced by a tutor David Hsu, a tutor in Shih-Chien University who’s also an alumni from GSA, I decided to continue my study in GSA to learn a more complete and logical way to develop and explain my design work. Though I was also accepted by the master course in Shih-Chien University, David convinced me that I could have a have a more complete training in GSA. Postgraduate life in GSA After couple of months studying in GSA, I was asked to be very sophisticated on design works. The students are required to deliver a complete design process with every details, and then better convince the audience with logical arguments. Contrarily, although students in Shih Chien could complete 4 series in a year, the origination is lacking, making the overall presentation weaker. GSA also provided a strong tutoring system which allows sufficient time for students to get sufficient attention on every detail. Some courses such as design concept also trained students to spontaneously do their research and review afterward. GSA actually guided and assisted students to find their way doing research, providing sufficient resources and environments for spontaneous learning.

I spent a lot of time to get adapted to the way of doing research in GSA, such as writing essay, no absolute answers, which were very different than the eastern education. I realized the true answer would reveal in the process of brain storming and back and forth research and arguments.

I also learned to make constructive questions and to have better interaction with peers, which was unusual in my environment beforehand.

I actually learned more from people with different backgrounds and benefit from the brain storming. As a result, I become more confident and concentrated in developing my career going forward.

Yun. Xie. 2017 6

(Hsieh, 2016) (Hsieh, 2016)

7

8

Introduction

Doesn’t matter sex or gender (or say physiologically

or mentally), human behavior was deeply restricted.

(Crane, 2004) For example, same sex marriage isn’t legally yet in many countries, including Taiwan. (Jeff Kingston, 2016) Women have to cover the whole body with garments in some muslin countries. (Culp-Ressler, 2016) It’s now 21st century with many technology innovations and social liberation which continues to break the traditional rules. However, parts of human clothing are still restricted by these sexual binary rules, which really confused me. (Culp-Ressler, 2016) I hope I could express the sense of depression which human were restricted by their sexuality through this series of fashion design.

In addition, I personally don’t agree fashion style itself has sex distinction, or be given sex definition, such as these belong to menswear and those belong to women’s wear. I could still see some local reports in Taiwan regarding how weird cross-dressing was, and even prohibited men from purchasing women’s wear. (Appledaily, 2016) I want to fight against these unreasonable rules and discrimination, since these cloths were not born to have sexual distinctions.

Regarding the design style, I chose shirts, which were traditionally given sexual distinctions. (Garber, 2015) Moreover, I would add the eastern kimono block, I like to put eastern and western elements together since I believe people don’t have to be restricted by the sex and neither by the national boundaries.

(Liu, 2016)

28.Feb 2017 9

10

Design process Week 1 - Week 9

11

12

(Hsieh, 2017)

Design process week 1

G enerating

(Hsieh, 2017)

new silhouette lines via collage and find the suitable combination through the rearranging process: Since I want to add eastern and western elements into my design, I tried the traditional kimono as the basic pattern block and tried to add some western shirts design on it. In the same time, I tried to put more detailed design including straps and corsets on it.

During the rearranging process, I found many interesting combinations. After about 20 tries, I found connections between all the combinations which seems could help me develop a complete fashion collection.

The tutor value this very high during our discussion after these works. I successfully created a style of my own which also could deliver my conception well.

Indeed there are still many details required to be modified. However, the path is clearer after the basic silhouettes were done.

30. Jan 2017

13

(n.d.)

14

(n.d.)

Design process week1

P eople

tend to categorize human beings by their given

(Drmadmax.com, n.d.)

s ex u a l i t y, a n d p l a c e m a ny meanings and restrictions to them.

To me, it’s like fitting people in a straightjacket who are doesn’t have mental illness. Straightjacket was invented to limit behaviors for those psychiatric patients, by using ropes and leather stripes which placed in places those patients couldn’t reac h with their hands. I want to adopt these elements into my design to deliver the idea people are restricted.

Since my original design concept is to relax the irrational restrictions, I left the hands outside the sleeves, indicating the idea of disobedience even those restrictions still exists.

31. Jan 2017

15

Inspired by three major Japanese designers: The recent study on the masterpieces from three Japanese designers, including Issey Miyake, Rei Kawakubo , and Yohji Yamamoto, inspired me.

Such as the design of Yohji Yamamoto is beyond the boundaries of the nations, sex, and even have innovative applications on human bodies. And Issey Miyake said he is trying to create a non-eastern and non-western style of fashion. (English, 2011) These conceptions influenced me very well.

This was so-called a result from “eastern met western”. His objective is to make people who wear his cloths to liberate from the stereotype of the structure of the clothing, but also to show unique beauty on its silhouette.

I was deeply influenced by his thinking which broke the boundaries of the cultures. (English, 2011) However, Rei kawabubo never use her own name as a design brand.

Sheuse Comme Des Garçon, which means “like a boy”, as the only brand.

This explains the unisex nature of her clothing. In addition, she put together elegant traditional Japanese element, solid geometry, unparalleled overlapping innovative cutting, and sleek lines altogether, showing the beauty of ideology. (English, 2011) 01.Feb 2017

16

Design process week2

T he

design of Yohji Yamamoto is always irrational and sex free.

H e d e s i g n wo m e n s we a r u s i n g the concept of menswear. Yohji Yamamoto prefers to cover woman’s body shape using a exaggerated scale of cloths, delivering the image of intersexual (or hermaphrodite for plants). (English, 2011) This is what mostly influenced me: I don’t agree fashion could be categorized binary.

I personally would wear traditional men’s shirt and receive appraise from classmates or strangers three times in a day. I told them this is the shirt I bought from a menswear shop and let them know what I believe that clothes shouldn't be simply binary categorized. I usually receive positive feedback. To me, cloths only differs from sizes, not menswear and womenswear.

(Yohjiyamamoto.co.jp, 2017)

17

18

(Hsieh, 2017)

(Hsieh, 2017)

(Hsieh, 2017)

(Hsieh, 2017)

Design process week2

Couple of days ago, I tried to use fabric collage to rearrange

and create new silhouettes, which was highly valued by my tutor.

I then started the experiment by using calico on drap sewing.

The result was quite satisfactory since this fit one of my ideas for not to match the human body shape and it looks eastern.

However, after carefully examined for couple of times, I still felt something is missing. I decided to seek opinions from others before telling them my conception of this design and see if they could tell what the design was supposed to express. However, it was quite frustrating that nobody could tell what I want to show in this design. They could only tell this is a kimono with untraditional silhouette and different manufacturing process, but failed to see my conception which human beings were restricted by sex and not even the combination of eastern and western elements. Although I like the style of this drap sewing, I still decided to give this up since it failed to deliver the message of the design theme.

02.Feb 2017

19

S ince

I wa s q u i t e satisfied about the effect shown in the draping sewing, though failed to express the conception yesterday, I decided to do it over again, trying to emphasize on the part covers the sexuality, and add roman fold on the kimono. However, I found this consumed a lot of fabrics by using continuous sewing. I was a bit hesitated during processing but I still managed to get it done.

(Hsieh, 2017)

20

Design process week2

(Hsieh, 2017)

However, I did the same test by asking few classmates to see if they could tell the conception I like to show in this design and the result was still unsatisfactory. In addition, the overall silhouette is already very different than the one I came up with the collage. As a result, I still decided to trash this drap sewing sample.

03.Feb 2017

21

22

(Poell, 2000)

G iven

the failure in the previous two days, I started to doubt if I could

Design process week2

successfully to deliver the conception which human beings were restrained / restricted by sex. I decided to stay in the library full day to discover how fashion designers/artists to use their work as the media to successfully deliver their concept to the audience.

Firstly, I studied the work from John Willie, a photographer, since I was deeply attracted by his work. (Hakes. com, n.d.) Women captured in his view finder were tied in several different unpleasant ways. This is just like the uncomfortable feelings when sexual discrimination occurs on me. I was inspired by his work for the upcoming design. (Seeling et al., 2000) There’s another fashion designer called Carol Christian Poell who’s from Austria. He focused only on menswear earlier but introduced his first women’s wear series in 2005. He commented: “As you can see, in my images I have even erased the mouth, eyes, and all that which give identity to a person”.

(Seeling et al., 2000) He illustrated his conception with pictures with success.

This inspired me that I have to make people see what I want to tell at their first glance in my upcoming design work.

04.Feb 2017

(Hakes.com, n.d.)

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T oday,

as usual, I tried to searc h for some designers’ experience, hopefully to get i n s p i r e d j u s t l i ke r e a d i n g d e sig n e r s ’ d e s i g n c o n c e pt yesterday. I found the answer to the question in my mind so long today. To Carol Christian Poell, He hopes there is no personal identity in his visual expression.

He tried to put the focus solely on the links between cloths and human body, ignoring the look and the gender of the model.

(Draxler, 2016)

(Poell, 2000)

(Draxler, 2016)

Another fashion photographer, Draxler, brushed and make an abstract touch on his photograph works, which made people difficult to tell the personal identity. (Draxler, 2016)

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This reminded me of the conception from Carol Christian Poell.

(Seeling et al., 2000)

Design process week3

(Pejic, 2011)

I then started to review how to better express my conception on my design work. I believe fashion is part of the human body, and they are the best platform for me to express the idea how human being are always being restrained by gender. As a result, I decided to add the emotional part, such as being rages of being depressed, unsatisfied, and all related negative feelings which related to racism and gender discrimination, into my design work.

05.Feb 2017 25

Inspired from a brand call “Hoodbyair�. I noticed that the information that I could see on the ethos of A/W 2016 and S/S 2017 which with anti-sexual element.

I noticed menswear with skirt, and some incomplete structures on the top, especially for the front of top part. From my perspective the incomplete part is trying to challenge the traditional fashion structure.

I want to have my own challenge to the tradition as well. In this contemporary world, I am aware that the gender rule prohibited people from developing their own dressing style. And for the fashion design work there are still many restrictions as well.

(HBA, 2016)

26

(HBA, 2017)

Design process week3

(J.W. Anderson, 2013)

(Rick owens, 2016)

After did the brand research with keywords regarding gender restriction, I realized that several designers started genderless conception. They questioned binary gender. I then did some research on how’s their background and how they deliver the ideas and spirits to their collections.

The Eastern Designers who gave me strong influence are Yohji Yamamoto and Issey Miyake. The Western Designers are J.W. Anderson and Rick Owens.

They all have had questioned about gender issue and are curious about the traditional rules when designing for men and women.

06.Feb 2017

27

I studied eastern and western designers work yesterday and I found among designers who ever had expressed sexual issues in their work, Rick Owens and Yohji Yamamoto are the two who attracted me the most. They created whole new styles which is neither eastern nor western.

As a result, I decided to use drap sewing to create a silhouette which overcame the national boundaries. I tried to let loose the right sleeve, leaving an exaggerated volume on the right, which actually enlarged the overall design visually.

I also tried to use drap sewing to create a bottom outfit which unlike traditional pants. I like this bottom outfit which is unconventional and unisex. However, this cannot be linked to my conception of being restrained by sex. Similarly, the top still cannot deliver my conception very well. I decided to abandon this sample as well.

07.Feb 2017

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(Hsieh, 2017)

(Hsieh, 2017)

Design process week3

(Rick Owens, 2017)

(Rick Owens, 2017)

(Rick Owens, 2017)

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(Hsieh, 2017)

(Hsieh, 2017)

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Design process week4

Unconventional dressing -- “Deconstruction” is the design concept of my collection at this time. I want to break the traditional fashion rule of gender binary. I chose shirts, which traditionally differs from men and women, to start with. I was inspired by Yamamoto Yoji, ready-to-wear in s/s 2017, and try to deconstruct, reassemble, and add the theme I want to deliver. I use the most simple men’s shirt for draping, then modified it to a one-piece for women. Hopefully could explain that the curve line on the clothes is not necessarily to fit the curve line for human body, and to deliver the concept of breaking the tradition.

In addition, the use of bondage which covers the women sexuality was inspired by the images in image.1& 2, in which shown men and women are, like or unlike, have certain restrictions from their sexuality.

This also meant to deliver they are not 100% agree being sexual binary categorized and trying to cover the sexuality which made others to categorize them binary.

Why I want to use deconstruction to develop the gender issue in fashion design?

Deconstruction the original structure on menswear and womenswear is the way to remove those traditional sexual elements on the cloths. For example, the buttons on the shirts are on different sides, for men’s and for women’s.

09.Feb 2017 31

I

tried to review the fabric collage I did in the past few days. In the beginning, I want to come up with some samples and see how’s the outcome first, see if it is suitable to my theme or not, and then determine should I continue to spend my time and energy on it.

Firstly, I selected few from about 30 collages which met my style the most. The reason I picked image 1 is because, I want to make a kimono outfit which could be for both male and female. in earlier research, I found the contour for male kimono is the same with female kimono.

The reason I chose image 2. was because this revealed the idea people are restricted by their gender. The sexuality was tied up. And I also adopt the same concept to the design in image 6.

However, when I try to make a sample outfit, it cannot hold still as it supposed to be in the sketch. I believe it could be over-weighted and over-sized. Although I am not totally against this prototype, I think I could add more details on it to make it more appealing.

10.Feb 2017

(Hsieh, 2017)

32

(Hsieh, 2017)

(Hsieh, 2017)

Design process week4

(Hsieh, 2017)(Hsieh, 2017) 33

Two days ago I successfully use shirts on the female manikin to draw out the theme and it was positively approved. As a result, I decided to adopt the same methodology on the male manikin as exhibited below. Details included misplaced buttons, unparallel design, and straps to deliver the feeling of being restrained.

The restrained feeling was delivered. However, being restrained by what was still failed to be well perceived. After thinking for a full day, I am still quite unsatisfied with this sample since it’s not only cannot deliver the conception well but also lacked of aesthetic. So I decided to stop the creation and go back to the stage of doing research on those documentations regarding how conceptions were well delivered and start the whole thing over.

11.Feb 2017

(Hsieh, 2017)

34

Design process week4

(Hsieh, 2017)

I

twisted women’s shirts’ traditional structure to discover new contour lines. I found

several possibilities, including lengthening the sleeves and making them surrounding the neck. This is mainly because I want to show the concept that human are strangled by the sexual fashion rules. Secondly, I decompose the right sleeve, to show how people break through these rules.

In addition, I tried to adopt elements from straitjacket which was usually for psychos.

I lengthen the sleeves to the floor, but keep the arm could be maneuver out under the shoulder line. This illustrated the spirit of breaking the old rules and living without restrictions.

However, I found the above design focused too much on the expression of ideology but lacks concerns on aesthetics. In addition, what I really want is to decompose elements, but what I did was only rearranging some single parts. After thinking for few days, I decided to abandon this idea and see if I could come up with a better one.

12.Feb 2017

35

Before the trip to London doing research on detailing, I started to do the research on the internet first. The way handles the details such as the design by Marithe and Francois Girbaud 2010, made me feel like being restrained in the way of using strap to tie the chest and arms directly. (MarithÊ/François Girbaud, 2010) Also, the way with a loosened knot on the back also shows of breaking the restrain. The folds associated with the tether could also be related to an uncomfortable feelings of being restrained.

In addition, I found some details regarding designs with cotton rope. (Kok, 2016) The feeling of being restrained could be even stronger if using the rope to tie around the body. I started thinking to add the rope as a element into my design.

Some details such as Marni S/S’17 which add ropes on the skirts are quite appealing.Marni, 2017) The design from Marta Jakubowski, 2016, utilized a sole strap to tie the sexuality up, whic h was also quite inspiring to me.

(Jakubowski, 2016) 13.Feb 2017

36

(YARDENROEE, 2017)

Design process week4

(MarithÊ/François Girbaud, 2010) (S-media-cache-ak0.pinimg.com, n.d.)

(Kok, 2016)

(Kok, 2016)

(Kok, 2016)

(Marni, 2017)

37

(Hsieh, 2017)

(Hsieh, 2017)

38

(Hsieh, 2017)

(Hsieh, 2017)

Design process week5

The trip to London: In order to search for garments and accessories, I visited London. I found a huge ball shape object which was tied by cotton cord in Selfridge which located in Soho. I was quite impressed. In my opinion, it’s just like people who were tied up by those rules they don’t quite agree or quite understand. They failed to get rid of those restrictions but could just lie there hopelessly.

This inspired me about the idea of adding ropes into my design elements to show how the idea people were restricted by sexual rules.

In addition, during my search for accessories, I found many of them were invented to restrain or hold something. I believe these accessories could also assist my design on top of the garments.

In Selfridge, I also studied how other designers handled details, such as how to make a decomposed single pieces better allocated, and the characteristics of different garments. These details including color, weight, and touch are difficult to well perceived if only looking on the internet without seeing in person.

15.Feb 2017

39

I

found a brand called Vaquera on the internet today. I found their

Ready-to-Wear collection in Fall Winter, 2017-2018 (Vaquera, 2017) is quite unconventional and interesting which made me of being relieved from the sexual constrain.

Inspired by their design, I found the sleeves could be placed in an unconventional position and let the arms uncovered just like being released from the restraint, just like overcoming the restriction from the straightjacket for the psycho patients.

As a result, I tried a shirts with different silhouette on drap sewing.

However, it was not quite satisfactory so I end up giving it up again.

I met a bottleneck these days. Although a bit depressed, I believe I could still find the way out by broadening my own knowledge via reading or try more sketching.

16.Feb 2017

(Vaquera, 2017)

40

(Vaquera, 2017)

Design process week5

(Yamamoto, 2017)

(Y's, 2017)

(Yamamoto, 2017)

After I found my interest in several Japanese designers, I started reading a book called Japanes Fashion Designers: the work and influence of Issey Miyake, Yohji Yamamoto, and Rei Kawakubo. I am quite agreed about Yohji Yamamoto’s definition to the black color.

He noted: Black is modest and arrogant at the same time. To me, black is sex neutral and could express the negative feelings when met discrimination in many occasions. I found my theme could be best coupled with colour with out saturation, moldy colour, or nude color. I want to use the simplest color to deliver the most complex feelings in fashion design.

In addition, I want to add the red on some fabrics or accessories, since red means restriction, restraint, and limitation. I use similar combination in the earlier collage. I found my argument was supported by the tutor and classmates after the discussion.

17.Feb 2017

41

(Hsieh, 2017)

42

Design process week5

D uring

the discussion with the

tutor, he suggested me to continue sketching using the most basic shirts, to find out the silhouette, and then modify the content and the details afterward. After the rough structure had been determined, it could be easier to process the afterward merging on design sketc h and renderings. I developed 10 sketches today and I found I prefer the first one the most. I use sleeves to cover the sexuality in this one, which could best illustrate my conception. I would then utilize the similar methodology to develop a series of contours.

Although many unique silhouette were developed, I am not quite satisfied myself of just twisting a basic skirt. It seems not really a design to me but more like a styling things.

22.Feb 2017

43

(Hsieh, 2017)

44 (Hsieh, 2017)

Design process week6

In order to create more colors of myself, I decided express the conception via water painting. In exhibit 1, people was tied by strap on the face, which eliminate his/her identity, and showing the feeling of being confused/annoyed. I found the water painting the best way to discover the proprietary color for my theme, unlike solely depended on the feeling which was far away from convincing earlier. After this process of water painting, I am more confident in swatch.

In addition, I use glitch on the computer to wipe out the sexuality to better and more completely illustrate the conception.

01.Mar 2017

45

In addition to do the color orientation via watercolor painting, I also use the pencil to draw the body shape, trying to deliver some message it. I referenced some drawings from some artists to see how they express the concept via drawing. (Forest, 2016) In the meanwhile, I also found some inspiring pictures on the internet through keyword searching. The origination of these pictures may be lost or unfound nowadays. However, the person who strangled by straps and the sexuality covered by skin color fabric in the picture delivered the same message I wish.

A work from Flora Borsi, a Hungarian artist, showing a face wiped out and both hands trying to cover something such as the sexuality. (BORSI, 2014) It looks like being uncomfortably restricted by some invisible rules to me.

02.Mar 2017

(Forest, 2016)

46

(Pbs.twimg.com, n.d.)

(Forest, 2016)

Design process week6

(Hsieh, 2017)

47

Transfer the draping onto pattern cutting.

I figured out that the volume sleeves could be an attractive design.

I use the sleeves to surround the body. This could relate to my conception about human being being restricted by gender rules. I added more than 3 meter long sleeves to tie the manikin. I came up with this idea two weeks ago. The idea was about using the bondage/rope to tie the body. Today I came up with a new idea.

I use the sleeves not only to cover the body but also cover the neck, which looks like a scarf. I put another sleeve on the chest to cover the boobs, indicating that females always have to cover their sexuality, following most of the social rules. I also add a rope to set the sleeves on that position.

I found some problems with building up the shape on the waist with shirts collar. This part is quite complex, especially the fabric appeared to pulling the marking shape away when I tried to put the sleeves on the manikin. To trace it back on the pattern just made things more difficult.

04.Mar 2017

(Hsieh, 2017)

48

Design process week6

(Hsieh, 2017)

(Hsieh, 2017)

I add the deconstruction concept in some details today. I put a pocket on the left chest and add the set the collar on the upper side of the cuff, making the overall deign more complete and making it easier to be properly dressed as it was designed for. Some additional spaces, just like two pockets, were created naturally since the “sleeves� rounded and covered the chest. I like this accidental result anyways.

The tutor agreed with the overall design concept after the discussion.

HeShe suggested me to use the same concept to reassemble and transform, or to make a complete cloth then try to deconstruct it again.

The bottom line is, the overall visual impression should stay with the theme. I feel I am having a little progress this time.

07.Mar 2017 49

(MKA, n.d.)

(J.W. Anderson, 2017)

(Yamamoto, 2016) (68.media.tumblr.com, n.d.)

About the elements of details research, I found myself difficult to express details when drawing the drafts. Also, for accessories such as straps and ropes I have no idea how to make it clear when drawing. So I started to look up some details of contemporary designers’ work. Such as J.W. Anderson 2017aw, which utilize deconstructed shirts to show the feeling of the sculpture, I found those details in the cuff and the straps on the foot could be my reference.

I also gradually found some pictures using ropes to express emotions, and many rope knots as reference. I believe embroidery (68.media. tumblr.com, n.d.)could also be adopted.

I hope I could understand skills to construct the details and to develop more innovative usage. I believe doing the research on details could be quite helpful for my drafting in the future.

11.Mar 2017 50

Design process week 7

It took me a full day only to complete this simple kimono with hood. I believe I could be more efficient.

The concept is making an outfit by collage and putting some western elements in details then add a hood. Lastly, use the strap to emphasize the restriction by sexuality.

Although this is quite similar to my draft, the overall design is not very satisfactory.

I have to come up with more complete drafts.

So I was back to data collecting stage.

I have to figure out what makes a successful design and how to handle the details precisely.

Image (Hsieh, 2017): the girdle attracted my attention. I hope I could learn how other designers handle such details.

12.Mar 2017

(Hsieh, 2017)

51

I use shirts for various experiments today as well. I also tried to add some details such as ropes into the design. The reason to add ropes/ straps/knots is because these show the meaning of depressed/restricted to me. I also want to emphasize on the sexuality by putting straps/knots on it. In addition, I want to modify those cloths whic h were strongly assigned to a certain gender to wipe out the original characteristic. Such as I tried to modify the bra to a strap constructed covering the sexuality. I am not quite sure this could result in a success or not, but I am trying every possibility in details.

13.Mar 2017

(n.d.)

(Payload.cargocollective.com, n.d.)

52

Design process week 7

(MARGIELA, 2013) (S-media-cache-ak0.pinimg.com, n.d.)

(Yoogbe.com, 2017)

(Hood By Air, 2017)

53

Fitting allows me to see better how cloths look like when dressed up.

During the manufacturing process, I could only see cloths on the manikin which lacks of elasticity and could only hold still, which reduced the wrinkle on the cloths.

When the cloths were fitted on the model, I found it’s very different than what I imagined, making me feel like redo from the beginning. Many design details are not optimistic, such as the outfit, shirts, and pants on the male model in exhibit 4. Some buttons and straps were not suitably placed which kept falling apart. In addition, too much accessories and pieces made my design difficult to put on. It feels more like “modeling� than a complete deign.

Overall speaking, I am quite unsatisfied. I have to pay more a t t e n t i o n t o e a s y - t o - we a r a n d functionality, in addition to those existing old issues.

54

17.Mar 2017

Design process week 8

(Hsieh, 2017)

(Hsieh, 2017)

55

(Hsieh, 2017)

I reviewed the issues in all my design and disqualify those deigns with issues difficult to be fixed. And I tried my best to align the rest to the best position. I found most of the issues were revealed after put on and walked around. It is difficult to discover when putting on the manikin.

Regarding the modification, I examined the details such as lengthy sleeves, unnecessary hat, etc. Although we did the draft in advance, the draft is not precise enough. Failing to meet my expectation, I then decided to give up look2.

This failure made me understood the importance of drafting. I could now understand sketching is not drawing. Sketching could be abstracting, but still need to explain the details thoroughly.

(Hsieh, 2017)

20.Mar 2017

56

Design process week 8

I want to understand deconstruction better. Couple of weeks ago, I thought my design is part of deconstruction. After the discussion with the tutor, he said he doesn’t agree my design is deconstruction. He thought it’s just like a normal fashion design.

I looked at the images thoroughly. Now I finally understand these are not deconstruction after all. As a result, I decided just to add the deconstruction in the theme. In my opinion, to me, to revert the traditional sex recognition and to break the traditional gender binary rule is just a deconstruction.

After this lost and misunderstanding, I decided to spend some energy tomorrow to understand how deconstruction applied on fashion design really look like.

21.Mar 2017

(Hood By Air, 2016)

(Hood By Air, 2015)

(S-media-cache-ak0.pinimg.com, n.d.)

(UBHI, 2017)

(Hood By Air, 2015) 57

(Margiela, 1998) 58

Design process week 8

I am deeply influenced by the early stage Maison Magiela’s deconstructive design. I want to adopt this to express the idea of releasing the sexual restrictions and rules which traditionally placed on cloths, and eventually to eliminate the sexual binary cloths classification. Deconstruction allows me to remove all the existing rules and to reconstruct, which is the way out for me.

When I watch Maison Magiela Spring 1998 Ready-to-wear fashion show, I feel it's more like models are showcasing designs which just came right out from the laboratory, instead of just wearing them. The autumn 1998 series is also quite interesting, which use fabrics to cover all the personal identities to make the focus solely on the cloths.

In the series Spring 1999 ready-to-wear, it shows the design which attached a piece of fabric on the cloths, making the audience confused about its pant or skirt.

I like this unconventional design very much.

This review further confirmed my wish to implement deconstruction into my design series.

(Margiela, 1998)

22.Mar 2017 59

I

was attracted by the series Undercover 2006. In my opinion, the cloths wind around are not “wear� but are to cover the human body.

The cloths stack up so many layers seems to cover the human body, even including the personal identities including the face and the head. This is somewhat related to my theme: erasing the personal identity also ignoring the sexual identity. As a result, I am thinking to adopt the same methodology into my design, making cloths straps winding up the body, unlike the traditional silhouette. By doing so, the sexual differentiation would get blurred, and only left the size difference.

(Undercover, 2006)

60

(S-media-cache-ak0.pinimg.com, n.d.)

Design process week 9

(PIEROT, 2013)

(n.d.)

Secondly, I was attracted by the visual message delivered in exhibit 2 as well. The rope/strap tied the personal identity and the sexuality, with hands scratching the head which felt even more depressing. It just looks like being inability to fight against the sexual rules. As a result, I am thinking to introduce the rope/strap into my design. Details could be like those in exhibit 3 and 4. I have special preference on the one in exhibit 4.

It not only tied the sexuality with straps but also add ropes on it. The knots deliver an even stronger message regarding restricted and unpleasant feelings. Thus I consider it a very suitable reference.

26.Mar 2017

61

T oday I tried to use shirts as the base to sketch another silhouette, but this time I use up to 2 to 3 shirts.

This allowed me to have more room to come up with many different silhouettes. In the meantime, I use pencil to record every different silhouette. I found this is quite useful to allow me to come up with more ideas. However, the downside is this methodology still lacked details. It was quite time consuming to have a better look at those details. Some sketches might look nice but difficult to put to reality. The feeling could vary because of the use of different fabrics. Sometimes the str ucture could be difficult for model to fit in. Sometimes, after putting on, it changed the overall aesthetic.

It was quite nice to discover many different silhouettes by using this process. However, the overall aesthetic and creativity seem lacking. Next, I will try to combine the silhouettes of the coat and the jacket trying to make the overall design more appealing.

28.Mar 2017

62 (Hsieh, 2017)

Design process week 9

(Hsieh, 2017)

63

64

(Hsieh, 2017)

(Hsieh, 2017)

(Hsieh, 2017)

(Hsieh, 2017)

Design process week 9

A fter

beforehand experiments and research, I decided to use suit fabric, wool, and silk cotton as the major materials. The color picks are black, white, nude colour, and red. I choose black and white since I want the audience to pay more attention to the silhouette. I pick nude colour because I want to express the choths is like human skin. And nude color is more sex-neutral.

To add red in the color theme is because, I want cover the sexuality with the red fabrics, since red equates forbidden / stop in modern world, to emphasize that the idea that sexuality must be covered with fabrics to prevent from forbidding the law.

Wool and suit fabric delivered the touch I like most.

I would like to try suit fabric for final output, and silk cotton for the shirts or the shirt skirt in look1 next time.

I am more confirmed with my design identity through the assessment and research on colour card and fabrics.

30.Mar 2017

65

Conclusion

Looking back the past 9 weeks, I found it’s very important to record what I have done everyday, no matter those experiments a success or not. For example, I tried collage to discover the possible silhouette and style during the first week. I thought the silhouette discovered could directly become the direction I want to keep working on. However, after the continuous experiment, researc h, and modification in the following two weeks, I found the silhouette and the overall design changed overtime at the 3rd week. The original eastern contour line had been wiped out. I believe this is also related to the influence and inspiration from my reading of several fashion designers design theories.

In GSA, I have abundant resource in the library, diversified classes and experienced staffs. Although my personal experience and preference is more toward Japanese fashion designers and Japanese culture, I could still find sufficient materials in the library, and receive supports from the staff.

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(Hsieh, 2017)

I n a d d i t i o n t o e n h a n c i n g my p e r s o n a l knowledge, I found the most critical part is, I have to build stronger logic thinking and to explore my creativity. I understood my downsides. So I took Drawing as Research and Design Process Portfolio as optional courses.

These two classes helped me extensively, especially the course DPP, which assisted me to come up my design idea step by step, including collecting and sorting data, and get it into a habit. The class Drawing as Research told me how to make the design logical and thoughtful, to prevent from making an unconvincing product. With the knowledge built from this two courses, I am more confident in making products in my main course, and I gradually find my work more convincing and become more comfortable to discuss with peers and tutors.

Lastly, I am happy to receive the evaluation result from the tutor, which said my work is getting more logical, the overall expression is complete, and the personal identity is gradually revealed. The challenge ahead would be the continuous development of inspiring product which is story talking, unconventional, and visually appealing, and to make myself a better designer in the future.

Yun. Xie. 2017

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Image Appendices Hsieh, Y., (2016). Spring/Summer Collection of Yun. Xie. [Image]. Taiwan Hsieh, Y., (2017). Body Sketche1. [Sketche]. Glasgow Hsieh, Y., (2017). Body Sketche2. [Sketche]. Glasgow Hsieh, Y., (2017). Body Sketche3. [Sketche]. Glasgow Hsieh, Y., (2017). Body Sketche4. [Sketche]. Glasgow Hsieh, Y., (2016). City View. [Image]. Glasgow Hsieh, Y., (2017). Collage1. [Image]. Glasgow Hsieh, Y., (2017). Collage2. [Image]. Glasgow Hsieh, Y., (2017). Collage3. [Image]. Glasgow Hsieh, Y., (2017). Collage4. [Image]. Glasgow Hsieh, Y., (2017). Detail materials1. [Image]. Glasgow Hsieh, Y., (2017). Detail research on toile1. [Image]. Glasgow Hsieh, Y., (2017). Draping1. [Image]. Glasgow Hsieh, Y., (2017). Draping2. [Image]. Glasgow Hsieh, Y., (2017). Draping3. [Image]. Glasgow Hsieh, Y., (2017). Draping4. [Image]. Glasgow Hsieh, Y., (2017). Draping5. [Image]. Glasgow Hsieh, Y., (2017). Draping6. [Image]. Glasgow Hsieh, Y., (2017). Draping7. [Image]. Glasgow Hsieh, Y., (2017). Draping8. [Image]. Glasgow Hsieh, Y., (2017). Draping9. [Image]. Glasgow Hsieh, Y., (2017). Draping10. [Image]. Glasgow Hsieh, Y., (2017). Draping11. [Image]. Glasgow Hsieh, Y., (2017). Draping12. [Image]. Glasgow Hsieh, Y., (2017). Fashion Sketche1. [Image]. Glasgow Hsieh, Y., (2017). Fashion Sketche2. [Image]. Glasgow Hsieh, Y., (2017). Fashion Sketche3. [Image]. Glasgow Hsieh, Y., (2017). Fashion Sketche4. [Image]. Glasgow Hsieh, Y., (2017). Fashion Sketche5. [Image]. Glasgow Hsieh, Y., (2017). Fashion Sketche6. [Image]. Glasgow Hsieh, Y., (2017). Fashion Sketche7. [Image]. Glasgow Hsieh, Y., (2017). Fabric Collection1. [Image]. Glasgow Hsieh, Y., (2017). Fabric Collection2. [Image]. Glasgow Hsieh, Y., (2017). Fabric Collection3. [Image]. Glasgow Hsieh, Y., (2017). Fabric Collection4. [Image]. Glasgow Hsieh, Y., (2017). Fabric Collection5. [Image]. Glasgow Hsieh, Y., (2017). Kimono Coat toile1. [Image]. Glasgow Hsieh, Y., (2017). Kimono Hood toile1. [Calico Toile]. Glasgow Hsieh, Y., (2017). Kimono Hood toile2. [Calico Toile]. Glasgow 76

Image Appendices Hsieh, Y., (2017). Kimono Hood toile3. [Calico Toile]. Glasgow Hsieh, Y., (2017). Kimono Hood toile3. [Calico Toile]. Glasgow Hsieh, Y., (2017). Kimono Hood+Shirt+Rope Trousers Fitting1. [Image]. Glasgow Hsieh, Y., (2017). Kimono Hood+Shirt+Rope Trousers Fitting2. [Image]. Glasgow Hsieh, Y., (2017). Rope Ball1. [Image]. Glasgow Hsieh, Y., (2017). Shirt toile1. [Image]. Glasgow Hsieh, Y., (2017). Shirt Skirt toile1. [Image]. Glasgow Hsieh, Y., (2017). Shirt Skirt toile2. [Image]. Glasgow Hsieh, Y., (2017). Shirt Skirt toile3. [Image]. Glasgow Hsieh, Y., (2017). Shirt Skirt toile4. [Image]. Glasgow Hsieh, Y., (2017). Shirt Skirt Fitting1. [Image]. Glasgow Hsieh, Y., (2017). Shirt Skirt+Kimono Coat Fitting1. [Image]. Glasgow Hsieh, Y., (2017). Styling draping with Kimono Coat1. [Image]. Glasgow Hsieh, Y., (2017). Styling mens shirt draping1. [Image]. Glasgow Hsieh, Y., (2017). Styling mens shirt draping2. [Image]. Glasgow Hsieh, Y., (2017). Styling mens shirt draping3. [Image]. Glasgow Hsieh, Y., (2017). Styling long sleeves shirt draping1. [Image]. Glasgow Hsieh, Y., (2017). Styling shirt skirt draping1. [Image]. Glasgow Hsieh, Y., (2017). Styling shirt skirt draping2. [Image]. Glasgow Hsieh, Y., (2017). Styling shirt skirt draping3. [Image]. Glasgow Hsieh, Y., (2017). Toile Sketch1. [Image]. Glasgow Hsieh, Y., (2017). Water colour painting1. [Painting]. Glasgow Hsieh, Y., (2017). Water colour painting2. [Painting]. Glasgow Liu, J., (2016). Taipei equal marriage parade. [Image]. Taiwan

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Thank you.

Yun. Xie. 2017