The Opposite Kohinga Kākahu Whatu nā Yishu Yan

Ko te hoahoa The Opposite Kohinga Kākahu Whatu nā Yishu Yan he kaitoa whakahirahira o te 2024 A' Design Award Hiriwa i te Wāhanga Whakataetae Hoahoa Kākahu, Āhua me te Kākahu.

HiriwaKākahu· 2024

The Opposite Kohinga Kākahu Whatu

nā Yishu Yan

Kaitoa o te A' Design Award Hiriwa i te Wāhanga Kākahu

664,173

Kaitoa Tohu Manatokohia

Manatokohia te Tūnga Tohu mō #157237

Torohia te Pae Tirohia i te A' Design Award Pānui Pāpāho Tohu Tohu

Ngā Tae

Te Hoahoa

Mō The Opposite Kohinga Kākahu Whatu

Ko The Opposite he kohinga kākahu whatu mō ngā ira tangata katoa, i hoahoatia kia taea te mau i ngā huarahi maha. Ka hangaia te kohinga mā ngā tikanga tapahi-kore me te para-kore, nō reira kāore he papanga e whakarērea ana. Ka whakamahia te whatu matihiko hei hanga i ngā hanganga ahu-toru ngāwari me ngā hanganga kākahu ka taea te whakarerekē. Ka taea te whakawhitiwhiti me te whakauru i ngā taonga o ngā kākahu e rua ki ngā huinga rerekē, mā reira e taea ai e ia kaimau te waihanga i tōna ake tāera. Ka pai te hoahoa rahi-katoa ki te nuinga o ngā tāngata he āhua noa te hanga o te tinana. Ka whakapātaritari a The Opposite i ngā whakaaro noa mō ngā kākahu tāne me ngā kākahu wahine.

Te Whakamihi

Mō te A' Design Award Hiriwa

Ko The Opposite Kohinga Kākahu Whatu te toa o te A' Design Award Hiriwa, he whakaaetanga tino whai mana e hoatu ana ki ngā hoahoa taumata teitei rawa, ātaahua me te whakamīharo. Ko ngā toa Hiriwa he mahi tino kanapa, tino auaha e whakaatu ana i te mātanga, te pūmanawa me te mōhio hōhonu o ā rātou kaihoahoa. E tūmanakohia ana ko The Opposite Kohinga Kākahu Whatu he mahi whakamīharo, he tauira, he tino ngaio, he auaha hōhonu. Ko tēnei hoahoa i toa i te Hiriwa he hanganga rongonui, whakamīharotia e whai wāhi ana ki te whakawhānui i ngā rohe o te toi, te pūtaiao, te hoahoa me te hangarau. Ko The Opposite Kohinga Kākahu Whatu he mahi e hae ana te tini, e whakaara ana i ngā hiahia, e kawe mai ana i ngā kare-ā-roto pai, ā, e whakaoho ana i te mīharo.

I Muri i te Hoahoa

Kete Pāpāho

Ngā whakamihi, ngā mema o te rōpū me ngā taipitopito hangarau i whakaratohia e te kaihoahoa.

Āhuatanga Motuhake: "The Opposite", a unisex fashion knitwear collection, aims to create a new concept of modern garments with multiple wearing methods. It features the zero-cut, zero-waste, highly adaptable, flexible wearability and longevity of the design through highlighting sustainable design thinking and digital design attributes. The stylish items in the two outfits can be easily interchanged and matched. Rather than focusing on providing a figurative silhouette or identity, the collection is more concerned with the inclusion of the product to the user. It intends to explore the process of confrontation and cooperation between contradictory elements through the development of flexible knitted structures and changeable garment constructions, questioning the common notions of men's and women's wear, and Eastern and Western clothing.
Inenga & Pēketanga: This garment is an all-size design and will fit most people of average build.
Tūtohu: Fashion Design, Knitwear, Multiple Wearing Methods, Unisex Design, Digital Knitting, Sustainable Design, Zero-waste, Zero-cut, Adaptative Design
Hangarau Whakanao: This project was essentially completed in Hong Kong, China in 2019. Relevant research for design development has been published in Science Citation Index journals and obtained a China Utility Model Patent. The collection has been exhibited at the Asian Art Museum, in San Francisco, USA. Research related to the design project is being continued.
Wero Hoahoa: The special three-dimensional knitted structure shows a unique surface texture effect and deformation ability, but it also creates a problem for the composition and relative stability of the garment structure. This is both a challenge and an opportunity. This flexible and versatile nature provides unlimited possibilities for the continuous development of this design.
Rangahau: This design research is exploratory and practice-led in nature. The proposed design offers a new approach to innovative fashion that integrates surface design and construction design through a digital knitting process, which bridges the gap between modern knitting technology and fashion design. Textile structural research-led design allows clothing design to be no longer limited by the inherent framework, i.e., gender, identity, etc., but rather to look back at the matter of wearing itself, i.e. the interaction between clothing and the body. Both objective and subjective evaluation were involved. The results of a series of performance tests have evolved into serval formulas and a design database that provide quantifiable and predicate criteria for upcoming designs.
Whakaaweawe: The inspiration comes from the visiting experience of the AUDIO ARCHITECTURE exhibition at 21_21 Design Sight in Tokyo, Japan. There was one unique exhibit in the exhibition a special song. The song's lyrics present various contradictory words, such as structure and surface, chaos and order, sound and silence, to discuss the dynamic relationship between audio and architecture. It inspires me that, many items seem the opposite, such as artificial and natural, body and soul, or, knit and purl, however, are they opposites? Or are they an ultimate whole? As a Chinese idiom says "Seek common ground while reserving differences". This point of view may offer one possible approach for global humanity to face the contemporary dilemma of the post-epidemic era.
Roanga o te Kaupapa: This project was essentially completed in Hong Kong, China in 2019. Relevant research for design development has been published in Science Citation Index journals and obtained a China Utility Model Patent. The collection has been exhibited at the Asian Art Museum, in San Francisco, USA.
Rerenga Mahi: The identity of both the designer and the user in this design is fluid. The designer plays as also a researcher and an engineer, involved in all aspects of design, development, and production. Meanwhile, the stylish items of the collection can be easily interchanged and re-matched, thus the user is encouraged to re-generate his/her style continuously. The essential concept determines the interaction of this design is always in a dynamic process of development and innovation.
Ngā Mema o te Rōpū: Academic adviser: Kinor Jiang & Jinyun Zhou
Whakamana Whakaahua: Image #1-5: Photographer: Joseph, Raysee Media/ Model: Sofia Korobova