PEOPLE + IDENTITY
GEN Z
GEN Z
Creating a mindmap to research Gen Z themes and what characteristics generally come to mind when thinking about “Gen Z”.
Examining the first mindmap that I had created, I looked for motifs and patterns that commonly appears in Gen Z aesthetics in fashion, accessories and media. Stars and swirls appear the most in trendy clothes worn by Gen Z. I used this to set the tone for my Shibori attempts and motifs for silkscreen printing.
The combination of stars and swirls on the dark sweater resembles a galaxy, however in popular Gen Z clothing, the shapes are made simpler, with sharp or precise lines. Some examples in the board below uses tie-dye to create the swirl effect, which is something I wanted to emulate.
01.
SHIBORI
from the verb root shiboru – "to wring, squeeze or press" ) is a Japanese manual tie-dyeing technique,
which produces a number of different patterns on fabric.
Examples of ShiboriExamples of Shibori
Types of Shibori Technique Styles
1. Arashi Shibori
Also known as pole-wrapping shibori. The cloth is wrapped on a diagonal around a pole, tightly bound by wrapping thread up and down the pole. Next, the cloth is scrunched on the pole. The result is a pleated cloth with a design on a diagonal. "Arashi" is the Japanese word for storm. The patterns are always on a diagonal which suggest the driving rain of a heavy storm.
Also known as pole-wrapping shibori. The cloth is wrapped on a diagonal around a pole, tightly bound by wrapping thread up and down the pole. Next, the cloth is scrunched on the pole. The result is a pleated cloth with a design on a diagonal. "Arashi" is the Japanese word for storm. The patterns are always on a diagonal which suggest the driving rain of a heavy storm.
4. Kanoko Shibori
Kanoko is a Japanese word meaning “cloth dyed in a dappled pattern” or “pattern of dappled white spots,” like the spots on a fawn. You take little pinches of fabric and wrap string (or rubber bands) tightly around the base of each little “ponytail.” You can create big circles or teeny little circles. You can cover the whole cloth or you can just put them in certain areas.
Itajime shibori is a shaped-resist technique. Cloth is first folded in an accordion-like fan. Traditionally, the cloth is then sandwiched between two pieces of wood, which are held in place with string. More modern textile artists can be found using shapes cut from acrylic or plexiglass and holding the shapes with C-clamps. The shapes prevent the dye from penetrating the fabric they cover.
5. Kumo Shibori
Kumo means “spider” or “cloud” in Japanese, referring to the way this method results in entwined images. The patterns overlap and connect like spiderwebs or geometric cloud patterns. This method is similar to the hand-pinched Kanoko shibori, but requires pinching larger sections of fabric and tying very tightly. The trick is to lace up the resisting fabric, from root to tip of the ponytail, in large swaths to create this larger, characteristic radial pattern.
A form of “stitched” shibori named after the process of sewing with needle and thread. A simple running stitch is used on the cloth then pulled tight to gather the cloth. The thread must be pulled very tight to work, and a wooden dowel must often be used to pull it tight enough. Each thread is secured by knotting before being dyed.
6. Miura Shibori
Also called “looped” shibori, the binding or resist process known as miura involves using a hooked needle to pull sections of the fabric from the rest, resulting in water-like, rippled, graduated patterns from the dye.
Also called “looped” shibori, the binding or resist process known as miura involves using a hooked needle to pull sections of the fabric from the rest, resulting in water-like, rippled, graduated patterns from the dye.
Inspiring Designer
Stella Nina McCartney CBE is an English fashion designer. I have heard of her fashion brand but only decided to explore more about her after seeing her Spring Summer 2019 Ready-To-Wear fashion runway while looking for designers who use tie-dye in their work.
I was surprised to find that she is the daughter of Beatles’ singer, Paul McCartney, as I personally love their music. Reading more about her, I come to realise that despite how the fashion world moves fast and wants to utilise everything in the world, even animals, she stands her ground as a vegeterian and animal-free designer. I admire her love for the earth and other creatures besides human beings as I too try to be sustainable in everything that I do. My clothes are all thrifted and I rarely buy new clothes. Knowing that there is way to become a renowned, established designer while staying true to what you believe in, she makes me believe that fashion does not have to be harmful to the earth.
These are some of my favourite looks from the Stella McCartney Spring Summer 2019 Ready-To-Wear fashion show on the Vogue Runway.
Initally, I thought that tie-dye on garments can only look very Do-It-Yourself and not professional. The way in which she applies tie-die is very interesting and actually looks cool to me. The right most look to me resembles a nursing uniform and I wonder if it would be possible if that could actually become a uniform for nurses.
Stella Nina McCartney CBE is an English fashion designer. I have heard of her fashion brand but only decided to explore more about her after seeing her Spring Summer 2019 Ready-To-Wear fashion runway while looking for designers who use tie-dye in their work.
I was surprised to find that she is the daughter of Beatles’ singer, Paul McCartney, as I personally love their music. Reading more about her, I come to realise that despite how the fashion world moves fast and wants to utilise everything in the world, even animals, she stands her ground as a vegeterian and animal-free designer. I admire her love for the earth and other creatures besides human beings as I too try to be sustainable in everything that I do. My clothes are all thrifted and I rarely buy new clothes. Knowing that there is way to become a renowned, established designer while staying true to what you believe in, she makes me believe that fashion does not have to be harmful to the earth.
These are some of my favourite looks from the Stella McCartney Spring Summer 2019 Ready-To-Wear fashion show on the Vogue Runway.
Initally, I thought that tie-dye on garments can only look very Do-It-Yourself and not professional. The way in which she applies tie-die is very interesting and actually looks cool to me. The right most look to me resembles a nursing uniform and I wonder if it would be possible if that could actually become a uniform for nurses.
Attempting Shibori
1st attempt.
Most tie-dye swirls that I have seen use one single swirl on a t-shirt or fabric. However, I wanted to have multiple swirls on one piece of fabric. Not knowing if it was possible, it took a few tries to twist the two opposing part of the fabric in their own swirl.
- I first divided the fabric into half with my eyes and twisting from the middle of the right half, into a swirl and securing with rubberbands to make it tight.
- Twist the remaining half of the fabric into its own swirl and secure with rubberbands.
- Using pink and purple dye.
The mode of dyeing was using pink and purple colours and squirting the dye from a squeeze bottle into the tied fabric over a container so as to not make a mess. To ensure that the dye seeps through thoroughly, I needed to squirt just enough dye, not too much and not too little.
observation.
The results were satisfactory as two swirls were brought out on the fabric. However, I think it would have looked nicer if the swirl on the left was more spread out so that the lines would be more visible. In contrast, the right swirl was very spread out and the lines were very visible. It looked like the swirls continued into each other and did not disconnect which I like about this piece.
reflection.
From this 1st attempt, I learned how tight the rubberbands must be, it has to be wound until it cannot be wound anymore, which was a bit of a struggle for me and hurt the tips of my fingernails after. I considered using the raffia strings to tie but I would have needed to ask for help from others to hold the piece while I tie it.
2nd attempt.
Some elements in my initial research board had very psychedelic type of colours like gradients of yellow, green, blue and black. I thought over-dyeing would be able to give that gradient effect for the colour changes.
Some elements in my initial research board had very psychedelic type of colours like gradients of yellow, green, blue and black. I thought over-dyeing would be able to give that gradient effect for the colour changes.
- I used the arashi style of shibori and dyed it yellow as a base for the other colours, then adding green on top.
- Wrap the fabric around a pvc pipe diagonally, secure one end with a rubberband.
- Squeeze together both ends and secure the other end.
- Dyed yellow as a base for the other colours, then adding green on top. Subsequently, adding dark blue dye.
I was planning to steam the darker blue onto the fabric however the pole could not fit into the pot, thus I tried to create that blend of colours by adding it straight onto the fabric and dousing it in the dark blue dye.
observation.
The result was not what I was expecting. The colours blended nicely from the yellow to the green, it gave a nature vibe, resembling vines and leaves, or tree barks.
I was aiming for a psychedelic vibe with very dark
background much like the below picture.
reflection.
The colours were very intense when untying the shibori however I rinsed the fabric and the colours became a little washed out which I regret, thus for the dyeing attempts after this I refrained from rinsing out the dye.
What I would change is dyeing the whole fabric yellow first so that the white parts are covered, then tie the shibori and dye the rest of the colours.
What I would change is dyeing the whole fabric yellow first so that the white parts are covered, then tie the shibori and dye the rest of the colours.
3rd attempt.
- I used the itajime shibori shaped-resist technique, first folding the fabric into accordion like fan and into squares.
- Sandwich the fabric between two pieces of cardboard and secure with rubberbands tightly.
- Using a dark blue cotton fabric and sponge bleach onto the sides.
observation.
The lines between the squares are very defined, while the middle of the squares are almost untouched by the bleach. The lines are jagged, perhaps due to dabbing with a sponge brush, resulting in an uneven dyeing.
reflection.
Though it is not what I was aiming for, I think the results are very beautiful and one of my personal favourite shibori works. I think it could have been improved if I had soaked the fabric at first with more water so that it could reach deeper into the square. However, I am happy with how defined the bleached parts are, they create complementary colours of blue and orange.
4th Attempt.
- I used the itajime shibori shaped-resist technique, first folding the fabric into accordion like fan and into triangles.
- Sandwich the fabric between two pieces of cardboard and secure tightly at the ends.
- Using white cotton and dipped into blue dye.
- Dipping the sides only in a black dye.
observation.
The blue dye seeped in to the middle well and left some white areas which looked like what I was aiming for in the previous attempt. Some ends of the triangle are more defined than other ends.
reflection.
I would have liked this piece more if it was done neater and if the black coloured parts were more consistent. As I was not neat and handled the fabric with unclean hands, certain parts were stained. It still produced an effect where the middle has white areas.
5th Attempt.
- I used the itajime shibori shaped-resist technique, first folding the fabric into accordion like fan and into triangles.
- Sandwich the fabric between two pieces of cardboard and secure tightly at one corner with a paper clip.
- Using white cotton, sponge brushes and dipping into green dye.
observation.
The patterns are more squarish and have a large amount of white space in the middle.
reflection.
The green dye was stain by other colours which turned the edges of each square a muddy brown. I may have gotten mixed up and used the wrong dye on it thinking it was green. My hands were not clean while handling as well which caused more stains.
6th Attempt.
6th Attempt.
- I first divided the fabric into half with my eyes and twisting from the middle of the right half, into a swirl and securing with rubberbands to make it tight.
- Twist the second half of the fabric into its own swirl and secure with rubberbands.
- Twist the remaining fabric and secure.
- Using dark blue cotton and soaked in bleach.
7th Attempt.
- Using Nui Shibori method. Sketch out the shape of the star.
- Stitch running stitches on the lines. Pull tight.
- Using dark blue cotton and soaked in bleach.
observation.
The star shape is very obvious in certain parts but not other parts.
reflection.
I may have left it in the bleach for too long, I think the contrast would be more if I took it out earlier. It is hard to tell with bleach whether it is working or not as certain parts of the fabric will keep staying blue. Stitching is a way to tie-dye into any shape you want, if you do a simple shape it will not take too long and the results are nice.
8th Attempt.
- Using Nui Shibori method. Sketch out the shape of the swirl.
- Stitch running stitches on the lines. Pull tight.
- Using dark blue cotton and soaked in bleach.
observation.
The colours are vibrant and the swirl is obvious. It looks like a snail shell or the burning sun.
reflection.This is one of my favourites as well, as the stitching came out well and I do not think I over-bleached this one.
shibori reflection.
I do not think I would use tie-dye in my work professionally but I would definitely do it as a way to make my own clothes, items more fun as I already own a few tie-dyed T-shirts. Before this, I only knew of the few typical ways of tie-dyeing, by twirling a shirt into a swirl. However, after this I might explore in my free time with shibori on my clothes or bags.
I am planning to make pillow cases out of scrap fabric soon and wondering if it will be pretty to add shibori on it as well. By patching different fabrics together and doing bleach shibori, will the colours be varied since each fabric are dyed differently?
I was aiming for a 4-sided star pattern like in my inspiration
board and was hoping I could achieve something like the
picture below, by doing the itajime shibori technique:
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02.
Heat setting is a term used in the textile industry to describe a thermal process usually taking place in either a steam atmosphere or a dry heat environment. The effect of the process gives fibers, yarns or fabric dimensional stability and, very often, other desirable attributes like higher volume, wrinkle resistance or temperature resistance.
1st attempt.
I used flat shell buttons as the form for the organza to take shape around. It is paramount to use more shiny and abit stiffer organza to ensure that the organza will take shape and mold around the objects.
I used flat shell buttons as the form for the organza to take shape around. It is paramount to use more shiny and abit stiffer organza to ensure that the organza will take shape and mold around the objects.
After boiling for 20 minutes, the organza molded to the shape of the buttons nicely. The result 3-dimensional effect looks like coins or flat mushroom tops to me.
2nd attempt.
I used aquarium pebbles as the form which was more dense than the flat shell buttons. I was interested to see the different shape it would produce.
I used aquarium pebbles as the form which was more dense than the flat shell buttons. I was interested to see the different shape it would produce.
The resulting shape was more voluminous than the first attempt. It created a shape like button mushrooms.
3rd attempt.
I used marbles of different sizes, from small to big. I was interested to see if a bigger object would still have nice results.
I used marbles of different sizes, from small to big. I was interested to see if a bigger object would still have nice results.
I think the results were more interesting than the previous attempts as there were variety of sizes, however not as uniform.
4th attempt.
Using the arashi shibori technique of folding into an accordion-like shape and twirling around a PVC pipe. For this attempt, I wanted to do something that I could use for my draping exercise in Design Studio. Trying to create crumpled, with a bit of messy pleats texture to drape around the bodice.
Using the arashi shibori technique of folding into an accordion-like shape and twirling around a PVC pipe. For this attempt, I wanted to do something that I could use for my draping exercise in Design Studio. Trying to create crumpled, with a bit of messy pleats texture to drape around the bodice.
This created random folds which was exactly what I was aiming for.
Some ways in which I can apply this method of heat setting for draping:
heat setting reflection.Some ways in which I can apply this method of heat setting for draping:
Heat setting is fun as I cannot wait to unravel or untie the organza to see the final effect. Though I cannot see myself using the first 3 methods for any projects, I think the arashi shibori method of tying the organza is
the perfect method to use for my Design Studio project as it calls for pleated, crushed and random textures that are edgy or rough. I think by doing this method on a bigger piece of organza, will be a major addition of texture to the whole look.
03.
Motifs
At this point, we had still not chosen our project focus on Gen Z yet, thus I based my motifs on patterns and graphics that are commonly seen on clothing popular with Gen Z. Centralised words, graphics, icons, stars and swirls as well. Drawing from some analysis of Gen Z’s concerns, many of them feel financially disadvantaged with rising daily costs and housing. Since most of Gen Z are still studying or have just started in the working world, they do not have an abundance of money. Gen Z also have significantly more concern for climate change than any other generation. So I merged all these ideas together to create my motifs.
Inspiration Board for motifs
These were the motifs that I settled on, 2 repeat prints and 2 single prints.
1. “ALL I NEED IS MONEY” refers to Gen Z’s financial insecurity. Placed in between stars to resemble graphic t-shirts.
2. “MONEY SAVES THE EARTH” and a big swirl resembling the shape of the Earth. A play on words with the saying “Money can buy happiness”.
3. Repeated swirls of different sizes in varying directions.
4. Repeated star shapes of different sizes in an orderly placement.
We streched organza over the frames using the big stapler gun, which was very scary at first but I quickly got the hang of it and am way more confident with it now. Making sure the organza was very tight and all places and stapling the loose parts down. After this, we start to coat the screen with the blue liquid which is a bright blue emulsion.
After pouring an even layer of the emulsion into the scoop coater, we drag it along the organza with consistent pressure. Too much or too little pressure would cause an uneven coating, which would cause issues when printing later on. The main goal is to get an even coating, with the least amount of bubbles or scratches.
After this, dry the screen in the dryer and it is ready to be exposed with transparency motifs.
At this point, we had still not chosen our project focus on Gen Z yet, thus I based my motifs on patterns and graphics that are commonly seen on clothing popular with Gen Z. Centralised words, graphics, icons, stars and swirls as well. Drawing from some analysis of Gen Z’s concerns, many of them feel financially disadvantaged with rising daily costs and housing. Since most of Gen Z are still studying or have just started in the working world, they do not have an abundance of money. Gen Z also have significantly more concern for climate change than any other generation. So I merged all these ideas together to create my motifs.
These were the motifs that I settled on, 2 repeat prints and 2 single prints.
1. “ALL I NEED IS MONEY” refers to Gen Z’s financial insecurity. Placed in between stars to resemble graphic t-shirts.
2. “MONEY SAVES THE EARTH” and a big swirl resembling the shape of the Earth. A play on words with the saying “Money can buy happiness”.
3. Repeated swirls of different sizes in varying directions.
4. Repeated star shapes of different sizes in an orderly placement.
We streched organza over the frames using the big stapler gun, which was very scary at first but I quickly got the hang of it and am way more confident with it now. Making sure the organza was very tight and all places and stapling the loose parts down. After this, we start to coat the screen with the blue liquid which is a bright blue emulsion.
After pouring an even layer of the emulsion into the scoop coater, we drag it along the organza with consistent pressure. Too much or too little pressure would cause an uneven coating, which would cause issues when printing later on. The main goal is to get an even coating, with the least amount of bubbles or scratches.
After this, dry the screen in the dryer and it is ready to be exposed with transparency motifs.
Placement of transparency motifs on silk screen for exposure in the exposure machine.
reflection.
I think I did this really well as my screen was well evenly coated. I am also more comfortable with using tools like the big stapler gun and equipped with the knowledge of how a silk screen is made. Before starting silk screen, I did not understand how the motifs could be imprinted on to the screen.
my printing work.
1st attempt.
Printed on calico using green paint mixed with silver glitter.
reflection.
This was just a test print so I was not too worried about making mistakes. When doing the second print, I forgot to let the paint dry and thus it stained the screen and created other swirls, which messed up the pattern. After this, I always remember to use a hair dryer to dry the paint before doing the repeat.
2nd attempt.
Printed on calico using black paint.
Printed on calico using black paint.
reflection.
I would definitely wear this on a shirt and that says something because I am Gen Z. The small star did not come out well, maybe because I did not wash it off well after exposing. I printed this to see what it would look like but did not mix it with other prints as this print was eventually not linked to my Design Studio project.
3rd attempt.
Printed on calico using black paint.
Printed on calico using black paint.
reflection.
I printed this to see what it would look like but did not mix the words with other prints as this print was eventually not linked to my Design Studio project. However, I did use the big swirl later on with other prints.
4th attempt.
Printed on black polyester fabric with white paint mixed with silver glitter.
reflection.
Simple horizontal repeat prints. When doing repeat prints, the tape covering the cross mark may come off, you must check thoroughly to ensure before printing that anything not supposed to be printed is covered. Looking at this now, I could use this as draping on my Design Studio project as star shapes are used in Hip Hop commonly.
5th attempt.
Printed on recycled fabric used red and pink paint.
Attempt 5 Result
Using the small swirls print in conjuction with the single big swirl. I used a different shade of red and pink to add variety to the prints. I spent some time figuring out how I want to lay the prints to make it interesting and random.
6th attempt.
Printed on black polyester fabric with white paint mixed with silver glitter and gold glitter separately.
Attempt 6 Result
reflection.
I wanted to see how the glitter paint would react on dark coloured fabric, the gold was not as vibrant. This is a somewhat boring print because it was just laying the screen two opposing ways.
7th attempt.
Printed on white polyester fabric with black paint and powder.
Attempt 7 Result
reflection.
This was the most fun silk screen to do as it was interesting to see how the powder affects the print. It gives an edgy effect, almost punk-like, like faded graphic t-shirts.
8th attempt.
Printed on black polyester fabric using silver and gold foil.
Attempt 8 Result
Printed on black polyester fabric with white paint mixed with silver glitter.
reflection.
Simple horizontal repeat prints. When doing repeat prints, the tape covering the cross mark may come off, you must check thoroughly to ensure before printing that anything not supposed to be printed is covered. Looking at this now, I could use this as draping on my Design Studio project as star shapes are used in Hip Hop commonly.
5th attempt.
Printed on recycled fabric used red and pink paint.
reflection.
Using the small swirls print in conjuction with the single big swirl. I used a different shade of red and pink to add variety to the prints. I spent some time figuring out how I want to lay the prints to make it interesting and random.
6th attempt.
Printed on black polyester fabric with white paint mixed with silver glitter and gold glitter separately.
reflection.
I wanted to see how the glitter paint would react on dark coloured fabric, the gold was not as vibrant. This is a somewhat boring print because it was just laying the screen two opposing ways.
7th attempt.
Printed on white polyester fabric with black paint and powder.
reflection.
This was the most fun silk screen to do as it was interesting to see how the powder affects the print. It gives an edgy effect, almost punk-like, like faded graphic t-shirts.
8th attempt.
Printed on black polyester fabric using silver and gold foil.
reflection.
I wanted to experiment with the foil as many Hip Hop stars wear gold chains, metallic coloured garments. This was difficult as after you print the glue, you have to move quick and stick the foil on the fabric, while you wash the glue off the screen. I printed this on a large piece of fabric so it was difficult to keep the iron on the foil, which is why there is that misprint effect, as the glue and foil had moved. If I were to try again, I would do it on a smaller fabric easier to handle.
silk screen printing reflection.
One method I would definitely use if I were to choose to do silk screen printing for my project is using powder to get that edgy faded effect. It is definitely relevant to my project focus. Otherwise, I think silk screen printing is very troublesome, you can only use the screen a few times until you have to wash it and dry it again. And preparing the frame and exposing the motifs take up a lot of time, when there are other ways to get a printed effect like digital printing...
04.
Laser engraving is a process that vaporizes materials into fumes to engrave permanent, deep marks. The laser beam acts as a chisel, incising marks by removing layers from the surface of the material. The laser hits localized areas with massive levels of energy to generate the high heat required for vaporization.
Inspiring Designers
Anouk Wipprecht is a Dutch designer who merges fashion with technology, focusing on interactive and innovative designs. She creates technological couture that intersects her background in fashion design with engineering, science and interaction design. Wipprecht's projects often incorporate laser engraving alongside other technologies, such as laser cutting, 3D printing and brain-computer interfaces. She has been dedicated more than 15 years to the question of “how to combine fashion with engineering, science, and interactive design.” Wipprecht said FashionTech combines design, fashion, coding, engineering, robotics, science, architecture, and even things like psychology.
In 2020, Anouk Wipprecht created a project called the Pangolin Scales. Combining laser engraving, 3D printing, and a brain-computer interface, she designed a dress that can reflect the wearer’s emotions. The lights and movement of the dress can have a total of 64 different combinations. This Pangolin dress can read the wearer’s brain waves, and expresses them via the lights’ frequency, colour, and movement.
Inspiring Designers
Anouk Wipprecht is a Dutch designer who merges fashion with technology, focusing on interactive and innovative designs. She creates technological couture that intersects her background in fashion design with engineering, science and interaction design. Wipprecht's projects often incorporate laser engraving alongside other technologies, such as laser cutting, 3D printing and brain-computer interfaces. She has been dedicated more than 15 years to the question of “how to combine fashion with engineering, science, and interactive design.” Wipprecht said FashionTech combines design, fashion, coding, engineering, robotics, science, architecture, and even things like psychology.
In 2020, Anouk Wipprecht created a project called the Pangolin Scales. Combining laser engraving, 3D printing, and a brain-computer interface, she designed a dress that can reflect the wearer’s emotions. The lights and movement of the dress can have a total of 64 different combinations. This Pangolin dress can read the wearer’s brain waves, and expresses them via the lights’ frequency, colour, and movement.
Having a background in Information Technology, I have always been wondering how to combine my skills and hobbies, and Anouk has this figured out. This works makes sense as a combination of fashion, technology and psychology. People sometimes cannot tell how others are feeling and are insensitive, this dress opens up a channel to communicate feelings without having to verbally express. I think this is an effective way of using ultimately, fashion to solve different problems in real life, or ironically technology to solve human problems like emotions. She inspires me to find intersections between various sectors in life, combining them to create a greater and effectice solution.
my work.
The motifs used were reused from the silk screen print project.
reflection.
I think laser engraving would be a good method for edgy prints also as it had a faded effect. I would use these laser engravings on the center of a shirt, like graphic tees that are popular with Gen Z. For the left engraving, the letter “E” did not come out as there might have been a problem with the artwork as I used Canva to create the words in a semi-circle, then transfered to Illustrator to vectorize. Moving forward, I used Illustrator only to create the artwork for laser cutting.
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05.
At this time, we have chosen our project focus and theme and were able to proceed with textile manipulations linked to our Design Studio project.
Design Studio Project
Examining how Gen Z’s style is influenced by what music they listen to. Zeroing in on Gen Zs who listen to many genres of music, does that love for different genres equate to different aesthetics mashed together? Focusing even more on two music subcultures, punk and hiphop.
On the bodice, tight pleats, bandage-like. At the hip area, scrunched up tulle to create volume.
Design Studio Project
Examining how Gen Z’s style is influenced by what music they listen to. Zeroing in on Gen Zs who listen to many genres of music, does that love for different genres equate to different aesthetics mashed together? Focusing even more on two music subcultures, punk and hiphop.
On the bodice, tight pleats, bandage-like. At the hip area, scrunched up tulle to create volume.
my work.
I chose to laser cut punk motifs like the skull and anarchy symbol, which is symbolic for the idealogy and lifestyle of punk. Punks use appliques like skull and anarchy patches and sew them onto denim jackets and jeans. I also chose stars and stars appears in streetwear clothing as well. I also wanted to use some laser cut shapes to bond onto my Sewing project denim tote bag, to bring that punk DIY to the bag as well.
reflection.
Using a red polyester without the bonding paper at first to cut as I thought I was supposed to cut and iron on bonding paper later on, thus the fabric was too flimsy.
Subsequently, I used black polyester and leopard printed cotton bonded with bonding paper when cutting which made the appliques easier to handle as well. The appliques fit well on the bag and matches with the lining.
Subsequently, I used black polyester and leopard printed cotton bonded with bonding paper when cutting which made the appliques easier to handle as well. The appliques fit well on the bag and matches with the lining.
06.
Cyanotype photography is a camera-less technique that involves laying an object on paper coated with a solution of iron salts before exposing it to UV light and washing with water to create stunning white and Prussian blue images.
History
Cyanotypes are one of the oldest photographic printing processes in the history of photography. The distinctive feature of the print is its shade of cyan blue, which results from its exposure to ultraviolet light. When the blue print emerged, cyanotypes were traditionally used for reproducing the technical drawings of architects and engineers until the arrival of photocopy machines. However, with its versatility and affordability, the technique was adopted by photographers soon after its discovery. The early days of photography were characterised by monochromatic prints such as the Daguerreotype and Calotype, and thus the brilliant blue hue of the cyanotype made a striking entrance when it was introduced in a world of albumen and silver gelatin prints.
Inspiring Designers
Sustainability - Johannes Cyamaya
History
Cyanotypes are one of the oldest photographic printing processes in the history of photography. The distinctive feature of the print is its shade of cyan blue, which results from its exposure to ultraviolet light. When the blue print emerged, cyanotypes were traditionally used for reproducing the technical drawings of architects and engineers until the arrival of photocopy machines. However, with its versatility and affordability, the technique was adopted by photographers soon after its discovery. The early days of photography were characterised by monochromatic prints such as the Daguerreotype and Calotype, and thus the brilliant blue hue of the cyanotype made a striking entrance when it was introduced in a world of albumen and silver gelatin prints.
Inspiring Designers
Sustainability - Johannes Cyamaya
After searching for sustainable silk screen alternatives and artists exploring them, I found that Johannes Cyamaya is one who takes an experimental, organic approach to screen printing by swapping typical specialized plastisol inks out for a vegetable colorant. The Cyanidin Screen Printing series explores the properties of natural pH indicators for design, transforming red cabbage into a vibrant, eco-friendly pigment. The cyanidin ink’s inherent chemical qualities lend it the ability to change color when exposed to a household acid or base, proposing a sustainable alternative to traditional screen printing techniques.
To begin with, cabbage will need to be cooked in water for 30 minutes, from which the colored water will be poured off and evaporated into a dye to 80% of its original volume. Then starch is added into the mixture which is left to cool down, steamed until creamy, then prepared to print with. Once designs are transferred onto the paper, further depth and distortion can be created by spraying water and either citric acid or vinegar onto the desired areas, where the colors will change gradually.
To begin with, cabbage will need to be cooked in water for 30 minutes, from which the colored water will be poured off and evaporated into a dye to 80% of its original volume. Then starch is added into the mixture which is left to cool down, steamed until creamy, then prepared to print with. Once designs are transferred onto the paper, further depth and distortion can be created by spraying water and either citric acid or vinegar onto the desired areas, where the colors will change gradually.
From the chemicals, garment manufacturers, chemical waste, to water pollution, screen printing is not a very eco-friendly art form. As an artist, you have the power to make a positive impact on the environment through your printing practice. Embracing eco-friendly screen printing products and techniques not only reduces your carbon footprint but also promotes sustainability and creates a more environmentally conscious artistic process. Johannes Cyamaya introduces a way to create vegetable-based inks to replace chemical inks. Not only are they innovative, but in a way that still considers the aesthetics of the art form.
They inspire me to be innovative in being sustainable, maybe not just using fruit-dyes on clothes without any technique, but mixing it with something like cyanotype, giving more dynamic effects that just normal ink dyeing.
They inspire me to be innovative in being sustainable, maybe not just using fruit-dyes on clothes without any technique, but mixing it with something like cyanotype, giving more dynamic effects that just normal ink dyeing.
Femininity - Joy Gregory
Another artist that stood out to me while exploring is Joy Gregory and her work in “Girl Thing”, below. This work is an exploration of gender construction through the obvious association with object and ‘feminine’ description. The instant recognition of the objects and their wider meanings to a broad audience indicates that despite claims of radical social change over the last forty years, the essence of gender expectation remains the same.
Another artist that stood out to me while exploring is Joy Gregory and her work in “Girl Thing”, below. This work is an exploration of gender construction through the obvious association with object and ‘feminine’ description. The instant recognition of the objects and their wider meanings to a broad audience indicates that despite claims of radical social change over the last forty years, the essence of gender expectation remains the same.
I loved that she uses women’s intimates and I can connect with her work as I think that what I create is always very feminine in a way. It makes me feel proud of being a girl, that we should not hide ourselves because of society’s gender constructs. Though my works are feminine, I definitely want to create things that really speak of feminity, that sparks the same feelings in me that this work does, for others.
my work.
The intent for cyanotype was using objects to create textures and effects for our Design Studio draping project. I was planning to get randomly, pleated, crushed textures using tracing paper.
1st attempt.
I used tracing paper diagonallly and folded pleats, placed diagonally on white cotton fabric.
I used tracing paper diagonallly and folded pleats, placed diagonally on white cotton fabric.
Using this for draping, I would pin it diagonally in this way.
reflection.
Layers could be seen through the tracing paper which was cool. the parts that were more layered were whiter than other parts.
However, there were random white blobs that I could not figure out the cause of. It can be observed that the whitest blobs are around the most folded, overlap parts.
2nd attempt.
Using tracing paper, crushed into a ball, uncrushed and placed flat on white cotton fabric.
However, there were random white blobs that I could not figure out the cause of. It can be observed that the whitest blobs are around the most folded, overlap parts.
2nd attempt.
Using tracing paper, crushed into a ball, uncrushed and placed flat on white cotton fabric.
Using this for draping, I would drape it on the bust area as most of the fabric is covered in the pattern. Adding a bit of scrunch at the side bust to create folds.
reflection.
The lines created are random and resemble brains, the crumpled shape covers most of the fabric. Again, there are random white blobs on the fabric which do not seem to correlate with the overlapping layers of the tracing paper.
3rd attempt.
Using 2 pieces of tracing paper, one pleated messily and one scrunched together horizontally. Using the sun’s light to expose onto white cotton fabric.
Using 2 pieces of tracing paper, one pleated messily and one scrunched together horizontally. Using the sun’s light to expose onto white cotton fabric.
Using this for draping, I would use the part of the fabric with patterns on the bust area.
reflection.
The random white blobs are still present and mostly on areas with the tracing paper. The texture is what I was aiming for but by itself, I would not say that it is a pretty piece. I expected more of the paper layers to be printed.
cyanotype reflection.
Overall, cyanotype gives pretty effects with many layers if using translucent materials or objects. However, you might not get a clean result, like random white blobs, and it is hard to pinpoint the cause as even when the crumpled paper covers the whole fabric, the white blobs are still present. I think it would be good for projects that are forgiving with imperfections.
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