Hsiang-Lin Kuo Portfolio 2020

郭 向 凌

Hsiang-Lin Kuo Portfolio 2019-2014

Image from Human De-Code, 2015

Project Timeline jiJIji (2019)

A hemp textile residency project that took place in South Tyrol, Italy.

Exciting discoveries include a revolution by replacing high-performance, breathable synthetics with natural hemp fibers.

RAW studies (2019)

A 6-month artist residency project funded by The Ministry of Culture.

The project developed a geometric system to transform illegal housing forms into wearables. The studies included documentation of cityscapes by paper sculpting, degradation of dimension into flats, and finally, the transformation of the findings into wearable landscapes.

This Is Escapism At Its Best (2018)

A collection that was developed on a Shima Seiki SVR123- SP model.

It was awarded with the Craftsmanship Prize in Tokyo New Designer’s Fashion Grand Prix, along with the opportunity to catwalk on Tokyo Amazon Fashion Week in 2018.

The Metamorphosis of Organics to Geometrics — a Study on Modern Footwear (2018)

The main purpose of this writing is to conclude the design process of “This is Escapism at Its Best (2018)”. The research allowed myself to re-explore my initial concept on “developing patterns or motifs based on functionality”, without following the traditional design process that heavily relied on visual reference.

DaJyaMa (2018)

A photography voyage on the annual celebration of MaZhu the goddess.

Pilgrims follow the parade of celebration and festivals for nine days, bringing good luck to temples along the west coast of Taiwan.

Muscle Boost (2018-)

A project in collaboration with industrial designer Ted Kuo. The device is targeted to senior basketball players who rely on stabilizer pads to relieve stress on the knee. However, the user gradually becomes dependent on the device which may result in muscle atrophy.

The design is in search of innovative solutions to adjust tension with knitted structure, material, and form.

Programming on Shima (2018-2016)

With unlimited access to the machines, I started a series of projects in collaboration with local designers, like Lun Tsai and Li-Ning Wang, to name a few. A series of fully-fashioned seamless garments weredeveloped, generating nearly zero-waste during the manufacturing process.

MuYeh (2017)

A pattern experiment project inspired by the sacred geometry of Islamic drawings. The intricate illustrations were able to be transformed into a zero-waste collection because the seamless continuity of the repeated patterns allows all pieces of fabric to be utilized.

Human De-code (2015)

A collection in partnership with Bio Art Taiwan. Swatch development explores shapes, color combinations, and textures of cell formation hidden deep within, looking through the human body like photos of x-rays, and replacing internal organs with a pre-scientific-age myth.

Oceanic Genes (2015)

This project was an exploration of the fishing culture of the YaMi tribe.

Fishing culture, or interaction with the ocean grew into the life of a Yami man.

The project is a conceptual framework that suggests if the origin of traditional clothing were also a result of Pacific marine culture, rather than an alien object that was introduced by foreigners of the Age of Discovery?

After The Love Has Gone (2015)

This project was a collaboration with fashion designer Chen Chien Yu. We wanted to celebrate the markings left by the 1960s idealist, the maturity of youth, and the self dialogue between the rebellious and conventional individual.

Brookesia Deformo (2014)

Texture and material play inspired the skin of an imaginary creature that travels through different dimensions.

PuZhi 1960 (2014)

A conceptual framework narrating a superficial identity based on the island’s immigration culture. The current political circumstances of the country are causing the citizens to ask questions. What does it mean to be a Taiwanese? The undefined explanations explore both the external and internal boundaries of individuals.

Crown & Co. (2014)

A material play with the suitcase company Crown & Co. The designers of the company were the mentors of the project, who gave us practical views of the commercial perspective.

Oscillations (2014)

A textile project from freshman year. Oscillations started with each of us writing autobiographies about ourselves, that was later condensed to five keywords, as the basis of development. The project documented was one of my first tools for developing creative work.

Fashion Fascinations.

part one.

This Is Escapism At Its Best Oceanic Genes Muscle Boost MuYeh After The Love Has Gone

During my bachelor studies in the fashion design department of Shih-Chien University, a selection of my works, including award-winning “This Is Escapism At Its Best (2018)”, Oceanic Genes(2015), and “After The Love Has Gone(2015)” have explored dialogues in social, interpersonal, and contemporary cultural heritage issues.

I also underwent a year-long journey into the sea of sustainable design in “MuYeh(2017)”.

The goal was to make the concepts tangible through texture, form, material, and their interactions with the human body.

This Is Escapism At It’s Best 2018

Upper left: Pattern design was based on “adaptive coloration” —a theory developed in the 20th century during World War I & II for camouflage designs in military purposes.

Lower left: Studies in contrast colors.

(Photo Credit: Adaptive Coloration In Animals, Cott) Below: Sketches demonstrating cord manipulation.

Above: Color palettes and texture experiments. Richly textured elements inspired from inherited of aboriginal Taiwanese tribes. Knits have been created by programming on Shima Seiki SVR123-SP and MACH123XS industrial knit machines.

Below: Sketches and designs of the collection.

‘This Is Escapism at Its Best’ is a BA graduation project, a genderless collection of alternative camping-gear that challenges the material aspects of mainstream protective activewear.

Usually, the main focus is to enhance protection of the wearer; in other words, the design approach builds up barriers to block enviromental imapct on humans.

The concept is to rethink human approach towards nature—is the advanced material bridging the gap? Or is it creating another humanistic fortress?

Full documentation: https://issuu.com/kuoie/docs/all-_

Above: “This Is Escapism at It’s Best” catwalked in Tokyo fashion week 2018.

The collection was nominated and awarded with the Workmanship prize of Tokyo Young Designer’s Grand Prix.

See Link: http://www.fashion-gp.com/archives/amateur/2018-2/ Below: Swatch development.

The pieces were designed, programmed, and knitted on Shima Seiki SVR-SP knitting machines.

Oceanic Genes 2015

The fishing culture is closely tied to the social structure-- festivals and ceremonies are based on various fishing seasons throughout the year; fish are distributed according to the class of people; myths and taboos portray the wonders of the sea. The people of the Yami tribe see themselves as children of the warm Pacific waters.

Nearly all objects in spiritual and material living that had a somewhat connection to the Pacific, however, clothing had always been a alien object, introduced by the explorers of Europe, China or Japan.

Oceanic Genes is a conceptual framework that if the evolution of garments also emerged from the fishing culture.

Above: Texture experiments inspired by fish skin.

Upper left: Illustrations of potential results of traditional clothing.

Lower left: Notes on how different fish play different roles in the tribe.

Above: Tying the connection of fish to the human body by integrating forms of fish into the patterns of garments.

Left: Possible traditional wear for the Yami.

Constructed from the patterns of fish (above).

Muscle Boost now-2018

This is a project in collaboration with industrial designer Ted Kuo. The device is targeted to senior basketball players who rely on stabilizer pads to relieve stress on the knee. However, the user gradually becomes dependent on the device and it may result in muscle atrophy.

The design is in search of innovative solutions to adjust the tension with knitted structure, material, and form.

SILICON

LYCRA

LYCRA (NET)

16.25MM

Above: The anatomies of the padding.

Below: It is connected to an application to suggest manual or automatic adjustments of tension throughout different stages of strength recovery.

Above: Fundamental research for detail design.

MuYeh

2017

A zero-waste collection made from fabric with Islamic sacred geometry inspired designs, which repeated patterns makes it possible to use all pieces of the fabric. This pattern experiment project included both sacred geometric designs, as well as floral prints.

Below: The full collection consists six outfits.

Pattern study of sacred Islamic patterns.

The research was the basis of pattern-cutting.

Freehand meditative sketches for ideas on draping.

Above: Floral prints inspired the geometry basis, develped for heat transfer as well as garment construction.

After The Love Has Gone 2015

This is a story after the hippie movement in the 70s, when the hippies were no longer young and returned to their obligations.They put on suits and ties and went to work, got married, had children -- But did the story end?

This project was a collaboration with fashion designer Chen Chien Yu. We wanted to celebrate the markings left by the 1960s idealist, the maturity of youth, and the self dialogue between the rebellious and conventional individual. “We wanted to signal that this was the end of it, to stay where you are, bring the revolution to where you live and don't come here because it's over and done with� — The Death of the Hippie,1967

Above: Illustrations of the collection.

Right: Marbled texture experiments for the collection.

By Chen Chien Yu and I.

My initial love for fashion started with textures and materials. Slowly, my passion rose to a new level when I enrolled in the textiles program of Royal Melbourne Institute of Technology, followed by a 2-year work experience in Shima Seiki. My texture and material play then turned to programming and coded digitalized knits.

part two.

Many of my earlier works were inspired by explorations with Bio Art Taiwan.

The organic structures and surfaces often replicated microscopic scopes of our familiared world, as found in Oceanic Genes(2015) and Deformo Brookisa (2014).

Other projects worked their way in the playground of color, prints, embellishments, as well as common and innovative techniques. I was fascinated by the discovery of new ways to join units together to create textiles that draped and flexed using non-woven/knitted structures.

Textiles & Material Play.

Human Decode Programming on Shima Brookesia Deformo Indigo Design Festival Oscillations Crown & Co.

Human De-Code

2015

Human De-code explores shapes, color combinations, and textures of cell formation hidden deep within, looking through the human body like photos of x-rays, and replacing internal organs with a mythical structure.

Complexity in early science and the wonders of imagination are beautifully captured in the biological illustrations of science books. Cell division and dissection reports are the basis of development, while wild imagination expands the possibilities.

Above: In the collection, a total of thirty textile swatches were experimented to produce an almost coral-like, botanical appearance mimics the scientific style of the drawings. Techniques include embroidery, knitting, weaving, and quilting with organza, mesh, film, yarn, thread, foam, plastics, and silicone.

Above: Woven and pattern development.

Left: Machine knitted samples fusioned in silicone.

Yarn, organza, clay, thread, and silicone.

Upper right: Silcone infused chunky knits.

Above: Concepts and sketches.

Programming on Shima 2018-2016

After returning from an exchange program in Textile Design in The Royal Melbourne Institute of Technology, Australia, I was fortunate enough to earn one of the only two positions in the Shima Seiki Training Program held at Shih-Chien University.

During the 3-year period, I was trained to independently design, program, and prototype, along with studies on yarn selection, fabric-swatch analysis, and machine maintenance on both SVR123-SP and MACH2XS models.

Images: Analyzing sample swatches from Shima Seiki.

Photo credt: Shima Seiki Taiwan.

Above: Programming on Shima Knit Software. Double-knit inlay combined with jacquard structures.

Below: Swatch development for “This Is Escapism At Its Best� series. Weaving structures were combined within knits, creating slots to hold cord and hardware, giving the surface additional dimensions and functions.

Double bed jersey with inlaid floats on SHIMA SVR123-SP for “Peranakan” Collection,

by Jinnie Yong, fashion designer

Collaborative Projects 2018-2016 Collaborative knit projects with local designers.

Wholegarment underlayers on SHIMA MACH2XS for “MISS OLD WANG 0 WASTE” Collection Li-Ning Wang, fashion designer

With unlimited access to the machines, I started a series of projects in collaboration with local designers, like Lun Tsai and Li-Ning Wang, to name a few.

A series of fully-fashioned seamless garments were developed, that generated nearly zero-waste in manufacture.

Top: Fully fashioned, seamless jumpsuit.

Middle: Fully fashioned, seamless textured dress.

Bottom: Fully fashioned, seamless pullover and vertical knitted pants.

Left and above: Four- color Jacquard Sweater designed and prototyped on SHIMA SVR123-S for “Dust of Time” Collection,

by Lun Tsai, fashion designer in Shiatzy Chen Below: Wholegarment underlayers on MACH2XS, for “Nikon F301” Collection,

by Zeke Lin, fashion photographer

Brookesia Deformo 2014 Texture and material play inspired the skin of an imaginary creature that travels through different dimensions.

An annual indigo festival celebrating the old plant-dye in the region of SanJiauYong, Taipei.

Indigo Design Festival 2015

Oscillations 2015

A textile project from freshman year.

Oscillations started with each of us writing autobiographies about ourselves, that was later condensed to five keywords, as the basis of development. The project documented was one of my first tools for developing creative work.

Crown & Co. 2014 Materials: White fungi, wool, and dye.

A material play with the suitcase company Crown & Co. The designers of the company were the mentors of the project, who gave us practical views of the commercial perspective.

Weaving finished pieces of machine knitting during my visit to the Royal Melbourne Institue of Technology.

Above: Felting on weaving pieces during my visit to the Royal Melbourne Institue of Technology.

Right: Synthetic flower prints.

Material used in following pages: Wool,thread, bobbins, and aluminum cans.

Designer as an Anthropologist.

part three.

RAW Studies jiJIji PuZhi 1960 DaJyaMa

Curiosity guided me to shift from design studios to science labs, and from archeology sites to philosophy lectures. Time devoted to exploring my curiosities allowed me to gain valuable insights that inspired my work.

I became more and more interested in the way cultural legacies adapt to the modern, or even future, world.

Collaborations with various institutes, namely Cheng Kung University, Taipei National University of the Arts, Shih Chien University, and Jhang Shu Senior High School, broaden and deepened the research experience.

However, the exploration of heritage goes beyond supplementing a sole designer’s creative process, it also responds to the bigger picture of current needs.

Raw Studies 2019

RAW studies is a 6-month project based on observation in the old district of Taipei.

The goal is to generate, possibly, first-hand reference by engaging in the modern culture itself.

How do we extract essence for creation from our surroundings?

The project developed a geometric system to translate illegal housing forms into wearables.

Such settlements were a consequence of population growth after WWII, and formed the basis of the urban cityscape we see today.

The studies included documentation of cityscapes by paper sculpting, the degradation of dimension into flats, and finally, the transformation of the findings into wearable landscapes.

It was after WWII, and the city was in vast command of accommodation. Public housing projects in densely populated areas was a solution to this problem.

The government tried to produce housing as quickly as possible— duplicating a single design in large quantities across an area.

Upper right: I always brought a foldable table with me, stood right in front, and started from breaking the structure down to primary forms according to proportion. I undertook this process by substituting sketching with paper models for documentation.

Lower right: Research suggests that the city might have once had a somewhat unified appearance.

Photo credit: 中華民國建築研究所

Collage of the cityscape in collaboration with RoTung Wu.

D

B

Left: Wearable cityscapes.

The 3D buildings were transformed into 2D flats, ready to be constructed as garment patterns.

E

A E D C

Following page: Patterns transformed into collar, pocket, and dress.

A

B C

C

B

x x

A

The experiment was in discovery of how the form was rebuilt to interact with the human body— in response with how the original building housed the humans, respectively.

x A

C

x

B

A

C

The project was actively carried on with the external engagement of a selection of students in Jhang Shu International Technical High School, New Taipei.

Weekly workshops and gatherings provoked discussions within the young observers.

Top: Exhibition opening held at C-lab.

Below: Weekly workshop held at JICTS.

RAW studies was initially introduced to the general public on 24th May 2019, where the exhibition took place in Taipei, Culture-Lab of Contemporary Arts , followed by a second exhibition in Waley Art Gallery in September, 2019.

Above: Poster for exhibition at Culture-Lab of Contemporary Arts.

Right: Students that engaged in the months-long research, as well as local artists of Wan Hua were also invited to the opening of the exhibition to celebrate their findings.

List of participated artists: ShouWei Sun, HongKai Chen, YiHuan Lee, FunPo Hao, and YuPing Lee. List of participated students: PeiShuan Yen, RoTung Wu, and YungPing Chang.

Below: Full documentation of RAW studies: https://issuu.com/kuoie/docs/1-cover-intro

jiJIji 2019

In Cengles, where I began a project with Werner, an activist, architect, and enthusiast, who was working on the renaissance of local hemp work.

Together, we used traditional crafting processes to create breathable hemp wovens for Salewa Mountain Gear. From day to day, we made visits to the elders of the area and learned about every detail from the old days of hemp work.

The field study project set into motion a material revolution by replacing high-performance and breathable synthetics with natural fibers.

Above: Warner explaining the making of hemp bricks in a workshop. Recently, the activist is keen on pushing his interest in hemp into naturally breathable textiles, in partnership with Salewa Mountain Gear.

Left: Verena the felt artist, flipping through her newly-developed swatches that was recycled from coarse“waste� wool of the region.

Development of a collection of garments was one of my assignedtasks.

Above: I was privileged to meet Martin, who was an artisan of spinning. “This art was always passed down from father to son,” said Martin, “hence, it was often poorly documented in books, so I had to gather scattered pieces from many people to put the puzzle together.” Picture on the right shows the extracted fibers neatly tied onto a pole.

Below: Notes on ratting hemp. This was based on knowledge of Martins’.

Top right: A hand-knitted swatch of a pure hemp blend.

Bottom right: Sketches of the field studies.

“There is no need to invent something from scratch. All you have to do is mine deeply into your own culture.

For me, everything is hidden in the Alps.�

--Christine, Head of Innovation Department, Salewa Above: A hand-knitted swatch of a wool/hemp blend.

Right: Blending wool into hemp through spinning.

Full documentation in “jiJIji 記憶技藝記憶”.

Puzhi 1960 2014

“PuZhi 1960” is a conceptual framework narrating a superficial identity based on the island’s immigration culture.

The current political circumstances of the country are questioning the citizens. What does it mean to be a Taiwanese? The undefined explanations explore both the external and internal boundaries of the individuals.

The collection is based on field studies in old embroidery town Pu-Zhi, Jya-Yi, and the aboriginal Amis tribe in Do-Lan, Taitung.

An infusion of the material was applied to design, ranging from ancient embroidery techniques in temple decoration to a water-resistant bark textile that once was the primary material for rainwear.

DaJyaMa 2018

In the spring of 2018, I went on a photographic voyage of the annual celebration of MaZhu, the goddess.

Pilgrims follow the parade of celebration and festivals for nine days, bringing good luck to temples along the west coast of Taiwan.