Proposal for Wool Runway 2019
digital expressionism
Pushp Gund Final year student Department of Fashion Design National Institute of Fashion Technology, New Delhi Cell: +91 8920888817 E-mail: pushpgund@gmail.com
digital expressionism
(L-R) Emma Hill Art, Doan Ly, Dries Van Noten, Keith Tyson, Saltbox Printhouse, Both ShowStudio Machine A
digital expressionism
Digital Expressionism depicts my freedom and self-expression. As a designer, I aim to design clothing which does not convey reality of something but instead it’s interior perception. ‘Expressionism’, an art movement in which artists used distortion, exaggeration, primitivism, and fantasy and through the vivid, jarring, violent, or dynamic application of formal elements. Whereas, ‘Digital’ refers to a very futuristic and innovative approach in my design concept and the various prints I developed for this collection digitally. As for me, graphics and photography have always been key sources of inspiration. The collection, ‘Digital Expressionism’ takes all these topics and links them to various fashion design techniques to produce an outcome which is exciting, bold, futuristic and maximalist. Purposely printing on handwoven textiles because it has a rich texture to it, also working with weavers on different densities of fabric suitable for digital print.
“Digital textile printing, a win win for the environment and producers alike�
Why Digital Wool Printing?
- Bert Benckhuysen My source for digital printing is Tex India Faridabad. They follow a unique process when printing on natural fibers, which inculde: 1. Inspection of Fabric 2. Pre-Treatment 3. Printing 4. Posy Treatment 5. Final Inspection Conventional printing techniques are wasteful of fabric and more suitable for long print runswhich makes digital ink-jet printing the best technology for printing on wool. It is said that a clear market for printed wool fabric exists. The article discloses the preparation of wool fabrics for digital ink-jet printing, the inks used and the technology involved. Key to the technology is the use of computer control in both printing and design of the printed patterns.
It has been observed that in case of wool, dyeing is the most commonly used technique to enhance aesthetic appeal. Printing is not commonly used either at small scale or large scale to produce beautiful attractive designs. It has been reported that hardly 2% of total wool in the world is printed. This is because of physical and morphological nature of wool. The hairy nature of woolen fabric operates against the production of fine, crisp designs which may be printed on the smooth fabric. Wool does not normally absorb the print paste very well, which may be because of scales on its surface.
Why Handwoven Wool?
In India, the handloom sector employs more than 43 lakh people, directly or indirectly, contributing to more than 15% fabric production in the country. It is the second largest after the agricultural sector and plays a major role in the export business as well. With fashion designers stepping in with their ideas, handloom weavers have started experimenting. Previously, they wove only saris, chaddars and long lengths of fabric. They used only particular colours and yarns which were in practice for centuries as the handloom sector is still a family-run business as the art of weaving is passed on from one generation to the other.
The handloom experience (soft, comfortable and durable) is due to the human handling of the yarn in the weaving process. As a result, yarn and the fabric are much less stressed and damaged. Hand woven cotton is known for its breathability as compared to mill made cotton. This implies that it allows more air penetration making it cooler, softer and more absorbent. It keeps you cooler in summers and warm in winters.
concept development
Digitalising the Past, Present & Future
Moodboard: digital expressionism
Hyper Bright - Ultra Bold - Full Volume - Graphic Apparel - Virtual - Gradients - Surreal - Embrace Maximalism
Client board
Provoctive - Fierce - Dynamic - Bold Rebel - Tough - Wild - Sexy
Aged between 25-35 The Client is independent. She lives in a cosmopolitan area, a suburban area in cities like Mumbai, Delhi, Dubai, London, Paris, New York, Milan and Tokyo in a modern and maximalist apartment. She works in fashion, graphic design, entertainment industry or videography so generally she has creative skill sets. She is open-minded with liberal political values, concerned about social issues and open to changes. She is very concerned about her appearance and her taste for the sultry. As part of the creative industry, she attends a lot of industry events and her clothes help her to stand out. She is an innovator herself and she embraces new technology. She was one of the first people to purchase the iPhone 11 Pro. She enjoys finer things in life, which include travelling to underrated places, visiting museums and celebrating her love for colours. They dress to attract attention to express her unique style. Values high quality whilst also being impulsive while shopping. She thinks outside the box, being a trendsetter and taking care in their appearance which is dynamic, bold and wild. Muse : Natasha Poonawala, an Indian philanthropist, chairperson of the Villoo Poonawalla Foundation, Executive Director of Serum Institute of India.
Brand association:
Dries Van Noten was a charter member of the collective of Belgian designers that disrupted the fashion culture with their avant-garde aesthetics and stylistic daring in the mid-1980s. All alumni of Antwerp’s Royal Academy of Fine Arts, they became known as the Antwerp Six.
An influential and treasured presence in fashion for more than 30 years, Dries Van Noten follows an inner creative compass that is whisperingly impervious to fashion. His clothes are crafted in extraordinary fabrics and prints, the large majority of which are conceived and exclusively created by Dries and his team. Van Noten’s vision, skill and devotion to the artistry of his designs elevates his work to transcend trends and time.
Print & Design development
Silhouette development: Early works of Cristobal Balenciaga
Line Up
Prints & Textile Specs
Working very close with weavers of Bodh Shawls, Kullu to produce a fabric with great texture. For Shirts and Trousers I’ll be using Twill weave of 2/32 yarn in white colour For Jackets and accessories I’ll be using Herringbone weave structure of 2/32 yarn count. Yarns will be sources from JayShree Textiles Weaving sourced from Bodh Shawl Weavers, Kullu and Weavers Association Society, New Delhi
Proposal for Wool Runway 2019 Pushp Gund Final year student Department of Fashion Design National Institute of Fashion Technology, New Delhi Cell: +91 8920888817 E-mail: pushpgund@gmail.com