Floral Album Tagrumma n Uselsu sɣur Xinyu Zheng

Floral Album Tagrumma n Uselsu sɣur Xinyu Zheng d anerbaz yettwaqadren meqqren n 2026 Tarbaḥt A' Design Award n Uzzal deg Taggayt n Tnaflit n Afeṣṣel n Tmuḍa, Iselsa d Iceṭṭiḍen.

UzzalTamuḍa· 2026

Floral Album Tagrumma n Uselsu

sɣur Xinyu Zheng

Amsaɣ: Tulip 'n room

Anerbaz n Tarbaḥt A' Design Award n Uzzal deg Taggayt n Tamuḍa

11,611

Anerbaz n Urraz Yettwasenqden

Senqed Addad n Urraz i #177958

Wali deg A' Design Award Tabḍert n tɣamsa Tanecḍa n wammud

Initen

Afeṣṣel

Ɣef Floral Album Tagrumma n Uselsu

Floral Album d tagrumma n uselsu i d-yekkan seg tewlafin n twacult n iseggasen n 1980. Tagrumma tettwaxdem s lekyasat n leqmac yeqqimen ur nettwaseqdac ara, i yeddukklen d ddeqs n titiknikin n ufus. Aẓeṭṭa s ufus, akruci, tazrart, tussut akked uẓeṭṭa n umidag ttwasqedcen ɣef velur akked leqmac afrawan yersen d tissiwin. Ijerriḍen s ukruci akked yeḥricen yettwaẓḍen sɛan iferdisen n uqiqec i yettmecṛiqen mi ara yembiwel win i ten-yelsan. Yal aselsu yettwaxdem weḥd-s, ihi ulac aḥric i d-yettuɣalen. Akk iḥricen sɛan tiddi ilelli. Tagrumma-agi tezdi lxedma n ufus s telqayt akked useqdec n tikkelt-nniḍen n lekyasat yettwattun.

Asmekti

Ɣef Tarbaḥt A' Design Award n Uzzal

Floral Album Tagrumma n Uselsu d amerbaḥ n Tarbaḥt A' Design Award n Uzzal, tagmat i yisnulfa yelhan i yemmalen ayen i d-ttrajun yimdanen seg yisnulfa yelhan. Imerbaḥen n Uzzal ttbanen d tmusni, tmahilt d tazmert n yimahilen-nsen. Floral Album Tagrumma n Uselsu ad yili d asnulfu yettwaɛezzen, yelhan, amaynut. Isnulfa-a ttwaɛezzen imi ɛawnen deg tudert, rran ddunit ugar n lxir.

Deffir n ufeṣṣel

Tagrurt n tɣamsa

Ismawen n terbaɛt, iferdisen itiknikanen akked telɣut i d-yefka umeṣṣufeɣ.

Taɣara Tasuft: This collection reinterprets craftsmanship through the integration of deadstock fabrics and multiple handcraft techniques. Each garment is individually constructed using hand embroidery, crochet, beading, and hand knitting, resulting in unique pieces with no repetition. By layering reclaimed materials with detailed surface work, the collection highlights the value of overlooked resources and connects tactile craftsmanship with contemporary design sensibility.
Tigejdiwin & Akemmus: All the pieces are free size.
Tibzimin: tulip n room, sustainable fashion, hand embroidery, deadstock fabrics, recycled materials, haute couture
Tasnakta n Ufares: Each piece is developed using deadstock fabrics combined with multiple handcraft techniques. Velvet, crochet, beading, embroidery, knitting, and cross stitch are applied through experimental craftsmanship. The production process integrates hand beaded garments, crocheted trims with sequin elements, knitted pieces using sequin yarns, and layered transparent textiles. The approach balances couture level precision with sustainable material practices.
Asewḥel n Usnulfu: The main challenge lay in balancing nostalgic aesthetics with sustainable production limits. Many desired fabrics were no longer available, requiring extensive trials with deadstock and recycled materials. Achieving hand-embroidered precision on uneven surfaces demanded technical adaptation. The process also involved redefining femininity through craft while ensuring each garment remained wearable and relevant to modern audiences.
Anadi: The research began as a qualitative exploration of how emotional memory can shape sustainable fashion. The objective was to reinterpret 1980s silhouettes using responsible materials and handcraft techniques. Research methods included material experimentation, archival image analysis, and wearer interviews to study emotional connection to garments. Results revealed that tactile handwork and recycled materials enhance both emotional resonance and sustainability awareness in contemporary fashion.
Aseḥbiber: Inspired by my grandmothers photographs from the 1980s, this project examines fashion as a carrier of personal and collective memory. Visual elements from domestic environments such as lace curtains, plastic flowers, and embroidered tablecloths are abstracted and translated into textiles, surface embellishments, and silhouette structures. The collection reinterprets nostalgia through contemporary design, positioning fashion as an archive of identity, cultural inheritance, and transformation.
Tanzagt n Usenfar: This project was initiated in April 2023 and completed in September 2024 in New York.
Tanila n Umahil: The collection is experienced through movement and tactile interaction. As the wearer moves, layered embroidery and sequins catch light, revealing hidden patterns and shifting textures. The garments invite sensory engagement, encouraging emotional connection through touch and reflection. Each piece performs as both clothing and storytelling medium, blending comfort with expressive form.
Ibrivan: Copyrights belong to Xinyu Zheng, 2025.
Trademark (2025) Tulip N’ Room.
Igmamen n Terbaɛt: /
Imsuren n Tugniwin: Stefy Lin, 2024.