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Major Project Report
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Major Project Report
UNIT 3.0/2013 THE MAJOR PROJECT FINAL REPORT LCC MAGD GUANJIAO LI
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Exploring the graphic language of the Chinese traditional garment, the cheongsam. How can a contemporary aesthetic provide a feasible way of developing the popularity of the cheongsam culture to Chinese 18 - 30 year olds?
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CONTENTS
1. Foreword
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2. Introduction
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3. Research Question
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4. Rational for the Project: 4.1 Theory
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5. Research:
4.2 Practice
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5.1 Analysis
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5.2 Practice
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5.3 Methodology
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6. The exploration of final out comes
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7. Critical Reflection
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8. Bibliography
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9. Picture Credits
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FOREWORD
Before I came to the United Kingdom to continue my studies, I had been interested in the development of the Chinese fashion industry for a long time. To be a Chinese graphic designer, I had always thought about doing something which could help the development of the Chinese fashion industry, especially through the development of Chinese traditional garment culture. As the Chinese traditional culture is gradually fading away, as a Chinese designer, I feel a strong sense of responsibility for saving the Chinese traditional culture and making sure the development of Chinese traditional culture is in keeping with the development of contemporary society. This project afforded me the perfect opportunity to use contemporary aesthetics to explore the contemporary Chinese visual style through the Chinese traditional garment, while also providing a chance to try out some new approaches for graphic design.
Foreword
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INTRODUCTION
The core idea of the project is to explore the contemporary graphic language of the Chinese traditional garment, the cheongsam, and develop the popularity of the cheongsam culture. This report aims to review and explain the whole process from doing the research, to making the final outcome of the project. The report will begin with a background and overview of the current situation of the Chinese traditional culture, and will then focus on the current situation of the culture of the Chinese traditional garment in particular, the cheongsam. The research question is derived from the background. The chapter 4, rationale for the practical Major Project, will further explain the reason for exploring the contemporary graphic design of the Chinese cheongsam, and describe the target audience and the purpose of the project. Following the chapter 5.1, research analysis, the report focuses on the history, culture and characteristics of the Chinese cheongsam, the influences of contemporary aesthetics to design, the relationship between graphic language and contemporary fashion industry and several case studies. In the chapter 5.2, the research practice explains the development of a focused approach to the research analysis, and some
experiments done for the project will be reviewed. In the chapter 5.3, research methodology the research methods and the techniques used in the project will be explained. In the chapter 6, the exploration of the final outcome, why and how the outcome was achieved will be described. In the last chapter, an overview of the process of exploring the contemporary graphic language of the Chinese cheongsam will be provided, and what I have learned from the project and the expectations for further development of the project will be mentioned.
Introduction
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1 1. The Chinese cheongsam in 1920s.
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RESEARCH QUESTION
In the constant pursuit of mass production and advanced technology, contemporary Chinese life is continuously bombarded with a variety of new information. Increasingly, people prefer to focus on novelties and instant updates, whilst ‘the history of centuries-old civilisations and many Chinese traditional cultures which should be inherited are passing into silence. For example, the Beijing courtyard, which is full of the historical remains from Chinese modern times (1950—1990) is constantly being demolished. Meanwhile, many monuments has been forced to be relocated. The culture of the Chinese traditional garment, the cheongsam (fig 1), as a distinctive cultural symbol of early 20th Century China, is also on the way to being gradually forgotten. The reason for choosing the Chinese cheongsam is that the cheongsam is the result of the independent, innovative female spirit, which advocates a kind of free, artistic and innovative lifestyle for women. The culture of the cheongsam also represents a kind of fusion between East and West in China’s modern history.
People in China, especially the younger generation, rarely care about the Chinese traditional garment. Nowadays less and less Chinese women are wearing the cheongsam in their daily life, as it is not fit for their daily activities and work, and wearing the cheongsam places a very high demand on women’s bodies as well. From this, we can see that Chinese traditional garment culture, the cheongsam culture, is fading out, especially for China’s younger generations. As such, the final research question is: by exploring the graphic language of the Chinese traditional garment, the cheongsam, how can a contemporary aesthetic provide a feasible way of developing the popularity of the cheongsam culture to Chinese young people aged18–30?
Research Question
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RATIONALE FOR THE PROJECT
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2. Shooting at the Chinese cheongsam store. 3. Most of the costumers in the Chinese cheongsam stores are 40 to 60 year olds. 4, 5. The traditional Chinese cheongsam style in the 1920s. 6, 7. Two posters of the Chinese cheongsam style in the1920s.
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Context in theory - The Issue
In contemporary society, the development of the Chinese traditional garment, the cheongsam does not suit the demand of contemporary society. I did research at the Chinese cheongsam and silk stores, which revealed that the contemporary Chinese cheongsam, in terms of styles and patterns, is not in keeping with the development of contemporary design aesthetics (fig 2). The target audience is mainly between 40 and 60 years old, whereas Chinese 18–30 year olds rarely step into the Chinese cheongsam and silk stores (fig3). It can be deduced that the culture of the Chinese cheongsam is thus gradually fading away from China’s younger generation. 7
The traditional Chinese cheongsam has its own style and culture, and was very popular women’s attire for daily life and banquets in the 1990s (fig 4,5). In addition, there were a series of public posters, which could be the visual language, reflecting and promoting the culture of the traditional Chinese cheongsam (fig 6,7). However, nowadays, only a few women like wearing the cheongsam in their daily lives, because it is not fit for their daily activities. Wearing the cheongsam places a very high demand on women’s bodies as well. The cheongsam does not reflect the development of society and contemporary aesthetics; only a few details of the materials and patterns have changed over time. Meanwhile, there are no visual reflections or promotions of the contemporary Chinese cheongsam style in modern Chinese culture.
Rational for the Project
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8,9,10. Chinese fashion brands, which are following with the international elegant fashion style. 11,12. Chinese fashion brands, which are following with the contemporary international minimalism style. 13,14 Chinese fashion brands with pure national dresses style.
There are not many mature Chinese fashion houses, which could successfully fuse Chinese traditional garments such as the cheongsam with contemporary aesthetics and functionality Chinese fashion today tends to embrace the characteristics and trends below: 1. The elegant international fashion style, which is nearly fit for alloccasions, or following a particular international fashion trend, mainly using black, white, golden and nude colours, adding small proportional high saturation colours, with some design details (figs8,9,10). 2. Completely adhering to the international contemporary minimalist style, which normally uses nude and natural colours, with little or no embellishments. (figs 11,12). 13
3. Pure national style dress, which directly uses national elements and patterns, and with high saturation colours used for decoration (figs 13, 14). In terms of contemporary aesthetics, there is thus a need, especially for the Chinese younger generation, for a brand which can fuse and balance international fashion trends and national garments. As such, employing contemporary aesthetics to explore the graphic language of the Chinese cheongsam may not only increase the popularity of the cheongsam for Chinese 18—30-year-olds, but it may also satisfy the fashion demand of the Chinese young generation, helping the development of fusion-oriented brands.
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Rational for the Project
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- Aims and Objectives In terms of contemporary aesthetics, the aim of this project is to explore the contemporary graphic language of the cheongsam and to remind the Chinese young generation the existence of the Chinese cheongsam culture, thereby increasing the popularity of the cheongsam amongst Chinese young people aged 18–30. Meanwhile, the project provides a feasible way to develop the cheongsam, so that the contemporary Chinese cheongsam could suit contemporary clothing aesthetics and demand. In this way, it is hoped that the culture of the Chinese cheongsam could be preserved for a long time.
- Target Audience The main target audience are Chinese young people between the ages of 18 and 30. The project seeks to pique their interest in cheongsam culture and contemporary art and design. The graphic language of the cheongsam, is a kind of fusion of Chinese contemporary and traditional culture. It also fuses art and design of contemporary international aesthetics and traditional Chinese aesthetics. Consequently, designers, artists, and fashion lovers from the younger generation
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will be also interested in the project.
Context in Practice In terms of the research analysis, in the next chapter, and the research issue of how to preserve the cheongsam culture by exploring the style, principles and form of the contemporary graphic language of the cheongsam, it is hoped that this will heighten the popularity of this traditional Chinese garment. The research also aims to further the development of the Chinese cheongsam, so that it can suit the demand of contemporary Chinese aesthetics and society.
RESEARCH
Analysis - The history, culture and characteristics of the Chinese traditional garment, the cheongsam. In 1911, the end of the Qing dynasty, the dragon robe was slimmed down to the sleek lines of an Art Deco abstract, with splendid decoration. The shape of the robe was the basis for the uniform worn by the Emperor’s Imperial Manchu troops. When it came to the long gown, civilian men also wore it. In the early 1920s, young Chinese intellectuals and liberal female students began wearing the cheongsam, as they wanted women be equal to men (Tam, 2000). The cheongsam revolution can therefore be seen as a signifier of social progress and increased female emancipation. The revolution of the cheongsam is thus representative of courage and innovation. In its earliest forms, the cheongsam was made with one piece of fabric in a simple flat form, without any darts or cutting lines. As more immigrants from overseas moved to China, and more Chinese young people went overseas to study or work, Chinese tailoring methods were greatly influenced by Western culture and tailoring.
The pattern-cutting skills were learned from Western tailors, at the same time that Chinese tailors took note of the advantages of darting. They therefore added darts and cutting lines to the cheongsam, leading to its modern manifestation which, unlike the old cheongsam, shows women’s body shape and makes the appearance of the garment more feminine (Tsui, 2009). Hence, we can see that the modern Chinese cheongsam is the result of women’s independence and innovation as well as the fusion of Eastern and Western cultures in China’s modern history. The cheongsam culture not only advocates women’s independent and innovative lifestyle, but it also advocates a style which is the fusion of traditional Oriental feelings and liberal Western culture. The graphic language of the cheongsam should therefore reflect these characteristics by using highly saturated and block colours to strongly show liberal and contrasting visual effects.
Research Analysis
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15. Embroidered satin cheongsam with broad decorative borders, in the end of Qing Dynasty. 16. Embroidered cheongsam made of flowered stain. 17. Cheongsam with coloured embroidery and broad decorative borders --- fashion of Manchu women in Qing Dynasty. 18. Long - sleeved cheongsam with side opening and coloured embroidery --- fashion in early 1920’s.
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Later on, in the 1920s and 1930s, the unisex gown slimmed down to the lines of the Western flapper. By the mid-1930s, the dress was long and light, skimming the body. In the forties, women added jackets with padded shoulders and platform shoes like Joan
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Crawford’s. After 1949, the dress became more shapeless on the mainland until it was replaced by the trouser suit (Tam, 2000). We can see the development of the cheongsam in the modern history of China through the following images (fig15 to 23).
Rational for the Project
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19, High - collared cheongsam with medium - length shoes embroidered with silver cloud and dragon patterns --- fashion of the mid - 1920’s. Qing Dynasty. 20, Long - sleeved waist cheongsam with side opening and coloured embroidery --fashion in late 1920’s. 21, Close - fitting sleeveless cheongsam with slit in front --- fashion of the early 1930’s. flowered stain. 22. sleeveless tapestry satin cheongsam with V - shaped opening --- fashion in late 1930’s. 23. short - sleeved, a kind of geometric mesh cheongsam.
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Research Analysis
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High collar Flower buttons for the colla and asymmetrical opening
Asymmetrical opening
Traditional Chinese pattern
Side opening
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Material: mainly using silk, stain, damask & velvet
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24. The structure characteristic of the Chinese traditional garment, the cheongsam.
Based on the development of the cheongsam, its main characteristics can be summarised (fig 24). Most cheongsams use bright colours, and red is the most popular colour. There are mainly three types of patterns used for the cheongsam, namely florals (peony, waterlily, chrysanthemum wintersweet, orchid), Chinese auspicious animals (crane, butterfly, Chinese dragon and phoenix) and geometric patterns (mesh, stripes). From the mid-1920s, new tailoring methods developed, and most cheongsams began to show the body shape of women. In addition, flower buttons, high collars, and asymmetric openings also became characteristic of the cheongsam. All these characteristics could potentially be used to develop the graphic language of the Chinese cheongsam.
- About the influences of contemporary aesthetics on design. In my opinion, contemporary aesthetics rarely has any specific influence on design, other than pushing designers to break the rules and use the most appropriate design method. As Inkahoots said, “Art is mysterious and physical. It’s made and experienced in the material conditions of history, but the best stuff somehow transcends these structures by confronting them” (Gerber and Lutz, 2006). We were born in a very liberal contemporary society and design environment. Today’s younger generation is open-minded and accepting than the older generations. Most of China’s youth respect individual design works which do not simply adhere to the foundational principles of design. This does not mean relying on the designer’s intuition is enough, but “breaking the rules, associative illogic” was the unique property of the individual designer or viewer. This also reflected a wider reluctance in society to submit to any form of imposed ( Poynor, 2003).
Research Analysis
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Moreover, if we pay more attention to following the design rules and format, the content will be ignored more or less. In other words, “a signifier that has lost its signified thereby been transformed into an image�(Poynor, 2003), just as the form of the typographic takes precedence over the meaning of the linguistic. From this, the contemporary aesthetics for design are more liberal and bold than the traditional aesthetics, encouraging more creative and practical ways of expressing the real content. All design formats should be fit for the concept, not just for the materiality of design. Learning rules and breaking them, and using more appropriate and direct way to express content, are therefore the main ideas behind contemporary aesthetics for design. Design format should not take precedence over the real idea; the concept is more important than the format.
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- The relationship between graphic language and the contemporary fashion industry. As contemporary technology continues to develop, the boundaries of graphic design gradually become broader. The social impact of graphic design also becomes more sophisticated. The role of the graphic designer has already changed, as graphic design is no longer limited to traditional printing; it has already expanded to encompass brand identity and digital media. It is indisputable that the scope of the application of graphic design is much broader than before, such as the user interface design. There is an increased sense of creative potential when a graphic design studio is commissioned by the fashion industry. Until Peter Saville was commissioned for the autumn/ winter 1986/1987 look book for Yohji Yamamoto, the benefits of a more integrated creative relationship between graphic design and fashion were fully realised. Almost immediately, graphic design became as vital for fashion as it had been for the music industry (Hess and Pasztorek, 2010).
25, 26. Autumn/ Winter 2005 and Spring/ Summer 2007 invitations of Christian Lacroix, designed by Antoine + Manuel.
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There are indeed common links between the visual language and creative enthusiasm of graphic design and the fashion industry, which could be a mutual benefit for both fields. The graphic language has strong abilities to promote the development of the fashion industry, whilst the fashion industry provides another unique creative platform for graphic design.
- Case Study 1. Some Examples of Graphic for Fashion have been researched, as seen in figures 25 and 26 which showcase Autumn/ Winter 2005 and Spring/Summer 2007 invitations of Christian Lacroix, designed by Antoine + Manuel. Antoine + Manuel are good at applying layered textures, geometric forms and detailed illustrative gestures to form their refined yet chaotic style. Through their distinctive colour and form, their work is easily identified (Hess and Pasztorek, 2010).)
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Research Analysis
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27 to 29. Yohji Yamamoto Paris Fashion Week Spring/Summer 2012. 30 to 33. Designed by John Galliano, who is an extreme romanticism master. His unconventional works are independent from commercial interests, and be presented by the irregular multi-elements, extreme visualization and other non-mainstream features. 34 to 36. Issey Miyake, Paris Runway Women, Autumn/ Winter 2013
2. Some traditional elements are being used as part of the visual language in the contemporary fashion industry, helping designers convey the fashion ideas. Western dress tends to use tight dresses to reflect women’s graceful curves. However, Yohji Yamamoto uses the kimono, utilising cascade and draping techniques, wrapping to form a dress concept centred on a non-fixed structure. Yamamoto likes to find inspiration in the beauty of traditional Japanese clothing, using the combination of colour and material to convey fashion ideas. Most Western designers do three-dimensional cutting from top to bottom on the human body model, whereas Yamamoto starts from a two -dimensional linear, creating a kind of asymmetric appearance. This chic idea is the essence of Japan’s traditional costume culture, because the irregular form is natural, not affected (fig 27 to 29).
John Galliano is an extreme romanticism master. It is generally believed that he is one of the few fashion designers who treat fashion as art and less as a commercial undertaking. His unconventional works are independent from commercial interests and many irregular multi-elements are present in his work, as well as extreme visualisation and other non-mainstream features. In particular, he often tends to find inspiration in different traditional ethnic cultures, fusing with his own understanding of art and fashion, perfectly combining the traditional elements with the contemporary aesthetics (fig 30 to 33). Issey Miyake is a famous Japanese fashion designer, who is known for his creative fashion design, exhibitions and fragrances. The experience of studying graphic design is an important element of his success, as he is strong in his use of deconstruction and reconstruction to form the textile and structure of the cloth (fig 34 to 36). Meanwhile, his products and exhibitions all reflect the Japanese’s mild nature and lifestyle philosophy. The visual identity of Issey Miyake using the simplest style with black and white colour expresses the feature of the brand and the Japanese style.
Research Analysis
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37. Antoni & Alison spring/summer 2013. The dresses boasted brush strokes and crayon scribbles with freedom colours. We could see that the designer was trying to use the graphic elements as much as possible. Collage was also used to create a kind of liberating visual effect. 38. ‘Spring/Summer Collection 2009 by Water van Beirendonck’ 39. Antwerp Fashion Academy. Poster for Show 1991, the annual show of the Antwerp Fashion Academy. Designed by: Paul Boudens. Category: Poster Size: 70 x 100 cm. Year: 1991 Printing: duotone on matt Maco paper.
3. There are some contemporary fashion brands which have a strong connection with graphic design. These fashion brands rely heavily on the graphic language, from the garment pattern to logo, typography and packaging. Such is the case with fashion house Antoni & Alison (fig 37); although neither Antoni nor Alison are trained as graphic designers, the way of thinking for this fashion brand is that the presentation and packaging are as important as the product itself. They also collaborated with a design agency, Graphic Thought Facility to finish their logo T-shirts and free broasheet mail-order catalogues (Blanchard, 2004).
Another famous fashion designer who often cooperates with graphic designers, Walter Van Beirendonck has also added graphic elements to his fashion design products, both for his own labels and the street wear brand, W&LT (fig 38 ). The graphic designer Paul Boudens has worked with Van Beirendonck for three decades. His beautiful graphic design has enhanced the work of such famous fashion designers as Dries Van Noten, Olivier Theyskens, Yohji Yamamoto and Haider Ackermann(fig 39). 39
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40. STYLE FEELING: CONTRASTING Culture: --- western culture (sexual, open,daring) constract to the eastern culture (undemonstrative, delicate, nobleness). --- traditional constract to contemporary. Graphic: --- red constract to green. --- the minimalism style constract to the maximalism style.
Practice In keeping with the findings of my research into the Chinese fashion industry, the development of the Chinese cheongsam does not reflect contemporary demand, and there is still no matured Chinese fashion product that can successfully fuse the cheongsam culture and contemporary aesthetics. Consequently, by exploring the contemporary graphic language of the Chinese cheongsam and showing its fusion with graphic design, it is hoped that this will develop the popularity of the cheongsam culture amongst Chinese young people between the ages of 18 and 30.
- The style of the graphic language. The basic style of the graphic language is the result of the history and culture of the cheongsam, in which Chinese and Western cultures are fused, representing a spirit of courage and innovation. It is a style which I call a ‘contrasting style’. In terms of the history and culture of the Chinese cheongsam, I have identified two existing contrasts, namely the contrast between the Chinese culture and the Western culture, and the contrast between contemporary and
traditional cultures. Moreover, most cheongsams use bold highly saturated colours with large areas of graphic patterns as decoration. The techniques for expressing graphic language could therefore incorporate contrasting and highly saturated colours, with red and green as the major colours. The graphic language could employ a maximalist style to contrast with the minimalist style. Utilising this method, the characteristics of the history and culture of the Chinese cheongsam could thus be expressed (fig 40). Figure 40 shows the feeling of this kind of style. I collected these images which are similar to my requirements, but they do not show exactly the style of the graphic language of the Chinese cheongsam. However, there are only a few of these kinds of products existing in China. I selected these images from some design websites, helping me to record and show the general idea of the contemporary graphic language of the cheongsam, but they are by no means a representation of the final style of the contemporary graphic language of the Chinese cheongsam.
Research Practice
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41, 42. two pieces of my work, which been designed following with the principles.
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- The principle of the graphic language.
The design principles of the graphic language of the Chinese cheongsam are:
To ensure consistency in the style of the contemporary graphic language of the cheongsam, certain principles are maintained. The principles of the contemporary graphic language of the Chinese cheongsam is based on the traditional Chinese cheongsam style, in which high saturation colours are used along with Chinese traditional auspicious elements, and the development of contemporary graphic design, which is fitting for the content, becoming more directly communicative and bolder.
- Mainly using block colours, with a few lines if necessary. - Utilising high saturation colours. - Mainly using contract colours. Utilising red and green as the main colours of the graphic language. - Utilising liberally tiled combinations to arrange each element in a specific area. This is different from traditional patterns, which mainly use two sides of continuous image, four consecutive image and centre of symmetry image. Figures 41 and 42 are two pieces of my work, which I am using to show the graphic language of the Chinese cheongsam, which is designed in keeping with these principles.
Research Practice
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- The process of designing the graphic language. The use of basic elements of graphic language for the cheongsam is based on the history, culture, and style of the Chinese cheongsam. Figure 43 show the process of designing the geometric and peony elements of this graphic language. The basic elements of the contemporary graphic language of the cheongsam were taken from the traditional Chinese cheongsam and traditional fabric patterns, and applied by using simple outlines. Water colour paintings on paper were scanned into the computer to serve as the texture of the whole graphic language. The series of the geometric utilised water colours to create the original prototype of the graphic language, then the colours were adjusted using Photoshop. The original prototypes of the other series were created by sketch at first, then using Photoshop with a bamboo pen and touch graphics tablet to fill in the final colours of the contemporary graphic language of the cheongsam. The arrangement of each piece was also completed using Photoshop and a pen and touch graphics tablet.
Research Practice
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- Failed Experiments Before undertaking this whole process of creating the contemporary graphic language of the Chinese cheongsam, there were some failed experiments. 1. Figure 44, 45 is the first piece in which I tried to explore the graphic language. The colours and shapes were not controlled ideally. The contrast of each colour block cannot be the same, and there are always some parts which are too dark or too light. Moreover, the shape of the pattern seemed too traditional to serve as the contemporary graphic language, unless some changes were made.
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2. After using the graphic language on the model (figs 46 to 49), I realised that I was not doing fashion design; I did not need to fit my design to any female model or garment. I had to remind myself that what I needed to do for the project was to keep creating contemporary graphic language, utilising contemporary graphic aesthetics to visually remind young people in China of the existence of the cheongsam.
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3. I was trying to print the contemporary graphic language on a kind of stain paper, to see if the effect would be similar to the real stain (figs 50,51). However, only slight texture was added, and the colour of the image became darker. I therefore gave up this method, and was planning to print the contemporary graphic language of the Chinese cheongsam on real silk.
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50, 51. These are two pieces of the graphic language printing on the silk, which been scanned into the computer.
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4. Figures 51 to 53 show the experiment for printing on silk. Although this method allowed for the image to be printed on the silk, the colour is far from that of my original design pieces, and some details of the image cannot be printed (figs 52 to 56). As such, for the final outcome, I abandoned this method.
52. Step 1. Printing the pattern on a piece of A4 paper. 53. Step 2. Sticking the silk on the printed side of the A4 paper. 54. Step 3. Putting the paper in the printer. Picking out the result. 55,56. Two pieces of the graphic language be printed on silk by this way.
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57, 58, 59. Process of Digital textile printing.
Methodology I returned to China over the summer holidays to do some research at the Chinese cheongsam and silk store. I took some photos of the cheongsams and silk and observed the customers. After comparing the cheongsam selling in the store with the material of the traditional Chinese cheongsam, the main issue became apparent, namely that the development of the Chinese cheongsam has not kept up with the development of contemporary society and aesthetics. Most of the customers in the store were around 50 years old, and there were almost no young Chinese customers between the ages of 18 and 30.
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Afterwards, I went through some famous Chinese shopping centres and streets, and tried to do research into the main fashion trends in China, and tried to determine whether there are any brands that could successfully fuse contemporary aesthetics with traditional Chinese culture. Unfortunately, the answer is no, and the main fashion trend in China is simply a reflection of the world’s minimalistic and elegant style. As such, by exploring the contemporary graphic language of the Chinese cheongsam, this project has its practical value as was mentioned in the chapter 5.2 research practice.
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For the secondary research, I went to my university library to research contemporary graphic language and aesthetics, especially with respect to design pieces with oriental elements. I also researched the relationship between graphic design and the fashion industry. Moreover, many general overviews and case studies for fashion branding were studied, as the project was more focused on developing the branding for a contemporary cheongsam style fashion brand for a long time. In addition, I went to the library of the Central Saint Martins and to the London College of Fashion to research the history, culture and style of the cheongsam. I also explored some fashion series which were inspired by traditional garments and some series which mainly use graphic language to show the style of the apparel. Below are some of the action techniques that were used in the project: - The technique of digital textile printing was used to print the contemporary graphic language of the Chinese cheongsam on the silk (figs 57,58,59).
60 to 63. Process of laser cutting. 64 to 67. Process of doing embroideries.
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- 3D laser cutting has been used to hollow the cover of the books and postcards so that the silk could come out, allowing the audience to touch and feel the silk directly (figs 60 to 63). - In addition, the traditional Chinese craftsmanship, embroidery, which is the technique which is always used to decorate the Chinese cheongsam, has been used to make some bookmarks of the contemporary Chinese cheongsam graphic language (figs 64 to 67). After trying several times to do the embroidery, I finally succeeded.
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- Watercolour and sketch were used to design the first step of the contemporary language of the cheongsam. Afterwards, the original sketches were scanned into the computer. Then, using the bamboo pen and touch graphics tablet, I filled in the colour and finished the final arrangement. All these techniques are focused on promoting the characteristics of the Chinese cheongsam, And utilising contemporary aesthetics to enhance the popularity of the Chinese cheongsam amongst Chinese 18—30-year-olds.
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Research Methodology
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EXPLORATION of FINAL OUTCOMES
As mentioned in the research analysis, breaking rules and using the most appropriate methods to showcase the core idea of the project, is the real demand of contemporary aesthetics. As such, when examining the outcome, the focus should primarily be on determining what kind of format of the final outcomes could offer a better visual representation of the graphic language of the cheongsam, and on identifying how the outcomes could better communicate with the target audience, namely Chinese young people aged 18 to 30. The final outcome contains a series of postcards of the contemporary graphic language of the Chinese traditional cheongsam, which are made of silk, scarves and handkerchiefs, which are also made of silk, embroidery bookmarks and some wrapping paper. All of these outcomes are fit to be sold in galleries, bookstores, gift stores, and even in special coffee bars.
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Silk is the main material of the Chinese traditional cheongsam. It has a smooth surface and the printing colour of the graphic language has a distinctive sheen. The audience can thus actually feel and touch the culture of the Chinese cheongsam by choosing silk to be a part of the materials of the outcome. Moreover, embroidery is also a kind of traditional Chinese craftsmanship which is used on the cheongsam. By applying embroidery to making bookmarks, the culture of the Chinese cheongsam could also be directly seen by the audience and the feel of the Chinese cheongsam can be recalled by the audience as well. Through this method, the contemporary graphic language of the Chinese cheongsam can be better communicated to the target audience.
CRITICAL REFLECTION
Reflecting on the whole process of the project, the most useful thing I have learned is the way of thinking for doing a graphic design project. Firstly, the area of interest should be identified. This could be just several key words, and it could also refer to several broad areas. However, this does not matter at the starting point of the research. The next step is going into the field of study for these relative areas, then identifying a more specific point of interest for your research. Afterwards, further research should be done for this specific point. Subsequently, a specific issue in this area should be considered, and thought should also be given to how graphic design could reflect and solve this issue. Finally, the research question will be narrowed down, and a clear reason and value of doing the project will be outlined. A very clear indication should be given of how the issue in question could be solved with the help of graphic design. This is a very strict process which must be respected in order to ensure the value and feasibility of the project. The approach, the context and
the process of the project is more important than the final outcome. At the outset of this project, I was interested in the Chinese fashion industry. Compared to the excess of products that are ‘made in China’, China does not have any successful brands which are ‘designed in China’. The Chinese style in the fashion industry has not matured in comparison with other countries. I thought a great deal about the relationship between the graphic designer and the fashion designer. As a Chinese graphic designer, I wondered whether I could do something to help the development of the Chinese fashion industry, especially through the Chinese traditional garment culture, so that the Chinese style could become more distinctive than before. At this stage, the research was focused on the Chinese traditional garment. After that, I discovered that the Chinese cheongsam culture was quite prominent in modern Chinese history, and I became quite interested in the culture and development of the Chinese cheongsam. As a result, the research area was narrowed down to the
Critical Reflection
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traditional Chinese garment, the cheongsam. However, another problem arose, which is that I was already in the midst of doing branding and pattern design for an imaginary contemporary Chinese cheongsam-style fashion brand, but it did not have enough practical value for the project. Afterwards, I went back to China to do more research at the Chinese cheongsam store. Finally, I found that the development of the Chinese cheongsam was not in keeping with the development of contemporary aesthetics and demand in the international fashion industry, and most of the customers who purchase cheongsams are around 50 years old. Consequently, the research question was changed to the final one: exploring the contemporary graphic language of the the cheongsam and determining how contemporary aesthetics can provide a feasible way of enhancing the popularity of the cheongsam amongst Chinese young people aged 18 to 30. At the stage of doing experiments, I had a very profound experience; I realised the importance of not over-thinking before doing the experiments for the outcome, as you will never know what will happen until you actually do it. Too much thinking can only waste your time. I was
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thinking too much before doing the experiments, but I soon found that the problems I met in the experiments were not the ones I expected before I actually did the experiments. I hope the target audience of the project could expand further to include people around the world, by doing more introductions on the history, culture and style of the Chinese cheongsam and by comparing the traditional and contemporary graphic language of the cheongsam. In this way, it is hoped that the project will increase the popularity of the Chinese cheongsam for the worldwide audience. In brief, the whole process of doing this project is very useful for me. I have learned a new method of doing the research and have rethought the value and the practicability of the graphic design. I will pay more attentions on the objectives, context, target audience and practicality for later projects, and making sure the value of the projects through the in - depth research.
BIBLIOGRAPHY
Baron, K (2012) Stylists: New Fashion Visionaries. London: Laurence King. Blanchard, T (2004) Fashion & Graphics. London: Laurence King. Chinese Ornament (2004) L’ Aventurine. Chinese Motive, Motifs Chinois (2003) Pepin van Roojen. Clark, H. 2000. The cheongsam. Hong Kong: Oxford University Press (China)Ltd. Gerber, A and Lutz, A (2006) Influences, A Lexicon of Contemporary Graphic Design. Berlin: Die Gestalten Verlag. Hameide, Khaled A (2011) Fashion Branding Unraveled. New York: Fairchild Books & Visuals. Hess, J and Pasztorek, S (2010) Graphic Design for fashion. London: Laurence King. Klein Naomi (2001) No Logo. London: Flamingo. Noble, I and Bestley, R. ed (2011) Visual Research: An introduction to Research Methodologies in Graphic Design. London: Ava academia. Poynor, R (2003) No More Rules: Graphic Design and Postmodernism. London: Laurence King. Tam, V (2000) China Chic. New York: ReganBooks. Tsui, C (2009) China Fashion: Conversations with Designers. Oxford: Berg. Tungate, M (2008) Fashion Brands: Branding Style from Armani to Zara. 2nd ed. Kogan Page. London and Philadelphia. Queneau, R (2009) Exercises in Style. London: John Calder. Rose, G (2001) Visual Methodologies: An Introduction to the Interpretation of Visual Materials. London: Sage.
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PICTURE CREDITS
fig 1, Clark, H. 2000. The cheongsam. Hong Kong: Oxford University Press (China)Ltd. fig 4, 5, Available from: <http://lotushaus.typepad.com/.a/6a00d8357c6b5b69e2010536882e24970b-500wi> [Accessed 1st October 2013]. fig 6, Available from: <http://1.bp.blogspot.com/_uUIPlZobeIU/ TKnqUugXx-I/AAAAAAAAELQ/Yl0Ex-B8jRc/s1600/shanghai_ girls.jpg> [Accessed 20th October 2013]. fig 7, Available from: < http://empireguides.com/wp-content/uploads/2013/05/Museum-of-Chinese-in-America-1.jpg > [Accessed 20th October 2013]. fig 8, Available from: < http://mybeauty-diary.blogspot. co.uk/2011/06/love-is-so-beautiful-as-described-in.html > [Accessed 20th October 2013]. fig 9, Available from: < http://img.ef43.com.cn/brandShop/2010/10/2217081619c.jpg l > [Accessed 17th October 2013]. fig 10, Available from: < http://pic.chinasspp.com/News/ pic/2013426102346143.jpg> [Accessed 17th October 2013]. fig 11, Available from: < http://www.jnby.com/conception. php?cid=179> [Accessed 17th October 2013]. fig 12, 13, 14, Available from: <http://www.elegant-prosper. com> [Accessed 17th June 2013]. fig 15, Available from: < http://www.efu.com.cn/product/nvzyp/1086852.html> [Accessed 17th October 2013]. fig 16, Available from: < http://news.ef360.com/Articles/2011-1-13/245065.html> [Accessed 17th October 2013]. fig 17 to 26, Zhou, X & Gao, C. 1987. 5000 Years of Chinese Costumes. San Francisco: China Books & Periodicals. fig 27, 28 Hess, J & Pasztorek, S. 2010. Graphic Design for fashion. London: Laurence King fig 29, Available from: <http://www.fashion156.com/resources/ uploads/2011/09/fashion156-yohji-yamamoto-ss12.jpg> [Accessed 20th October 2013].
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fig 30, Available from: < http://www.fmag.lt/userfiles/christiandior-fall-2007-haute-couture.jpg > [Accessed 20th October 2013]. fig 31, Available from: < http://img3.ph.126.net/P5LrQX-je7F3fL5HZVhB8A==/3071736420860601243.jpg > [Accessed 20th October 2013]. fig 32, Available from: < http://stylechunk.com/wp-content/ uploads/2013/08/Indian-Wedding-Dresses-By-JJ-Valaya-At-Indian-Bridal-Fashion-Week-2013-0011.jpg> [Accessed 20th October 2013]. fig 33, Available from: < http://stylechunk.com/wp-content/ uploads/2013/08/Indian-Wedding-Dresses-By-JJ-Valaya-At-Indian-Bridal-Fashion-Week-2013-0011.jpg> [Accessed 20th October 2013]. fig 34, Available from: < http://blog.stylesight.com/wp-content/ uploads/2013/03/IsseyMiyakeFW13.jpg> [Accessed 20th October 2013]. fig 35, Available from: < http://m5.paperblog.com/i/31/310086/ london-fashion-week-part-i-L-BbrOpd.png> [Accessed 20th October 2013]. fig 36, Available from: < http://coutequecoute.blogspot. co.uk/2008/11/walter-van-beirendonck-springsummer.html> [Accessed 20th October 2013]. fig 37, Available from: < http://a-g-i.org/member-work/ work/65> [Accessed 20th October 2013].
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UNIT 3.0/2013 THE MAJOR PROJECT FINAL REPORT LCC MAGD GUANJIAO LI
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Research Practice
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DESIGNED by CCINO.JIAO Thank to all the committees involved with the production of this project, especially thanks to my tutor Russell Bestley & Susannah Rees. London College of Communication MA Graphic Design Ccino. Jiao ccino.jiao@gmail.com Š 2013 Guanjiao Li All rights reserved Printed and bound in London
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