Yishu Yan nisqap The Opposite Awasqa P'acha Huñu diseñon

Yishu Yan nisqap The Opposite Awasqa P'acha Huñu diseñonqa Churana Kamay Atipanakuy T'aqapi 2024 A' Design Award Qullqi Premiu nisqap ancha chaniyuq atipaqninmi.

QullqiChurana· 2024

The Opposite Awasqa P'acha Huñu

Yishu Yan rurasqa

Churana T'aqapi A' Design Award Qullqi Premiu Atipaq

664,173

Taripasqa Premio Atipaq

#157237 nisqapaq Premio Kayninta Taripay

Sitio Web Qhaway A' Design Award ukhupi Qhaway Prensa Willakuy Premio Unanchay

Llinphikuna

Diseñomanta

The Opposite Awasqa P'acha Huñu nisqamanta

The Opposite nisqaqa huk unisex awasqa p'acha huñum, achka hina churakunapaq ruwasqa. Kay huñuqa mana kuchuy, mana wischuy ñankunawan ruwasqa kachkan, chayrayku mana ima awasqapas wischukunchu. Digital awaywan kinsa tupu kaqlla kuyuriq hatarichiykunata hinallataq tikrakuq p'acha ruwaykunata ruwakun. Iskay p'achamanta imakunataqa hukninwan hukninwan chaqrunallam, huk niray tinkiykunapipas churanallam, chaywanmi sapa churakuqqa kikin ñawpaqenman hina p'achakuyta atin. Llapan sayayniyuq ruwasqaqa askha chawpi sayayniyuq runakunaman allin churakun. The Opposite nisqaqa qharikunap warmikunap p'achankumanta sapa p'unchaw yuyaykunata tapurikun.

Riqsichiy

A' Design Award Qullqi Premiu nisqamanta

The Opposite Awasqa P'acha Huñu A' Design Award Qullqi Premiu mishak kan, ancha jatun yupaychay, kayta hanak, sumak shinallatak mancharina diseñukunaman kun. Qullqi mishak kashkakunaka ancha achikyaska shinallatak ancha mushuk ruraykunami, paykunata rurakkunapak yachayta, yuyayta shinallatak ushayta rikuchinku. The Opposite Awasqa P'acha Huñu ruray yachak, ñawpak shinallatak mushuk yuyayta charik sumak rurashka kanata munanku. Kay Qullqi Premiu japishka diseñuka ancha riksishka shinallatak yupaychashka yuyay kan, arti, siensia, diseñu shinallatak tekinolojía ñawpak ñankunata kichuk. The Opposite Awasqa P'acha Huñu achka runakunapak munashka rurashka kan, munayta kallarichin, alli yuyaykunata kun shinallatak mancharichin.

Diseño Qhipanpi

Prensa Kit

Diseñadorpa quska créditos, llamk'aq runakunapas técnico willaykuna.

Sapaq Kayninkunamanta: "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.
Tupukuna & P'istuy: This garment is an all-size design and will fit most people of average build.
Etiquetakuna: Fashion Design, Knitwear, Multiple Wearing Methods, Unisex Design, Digital Knitting, Sustainable Design, Zero-waste, Zero-cut, Adaptative Design
Ruway Tecnología: 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.
Diseño Sasachakuy: 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.
T'aqwiy: 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.
Kallpachay: 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.
Llamk'ay Pacha: 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.
Purichiy Puriy: 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.
Huñu Runakuna: Academic adviser: Kinor Jiang & Jinyun Zhou
Siq'i Hayñikuna: Image #1-5: Photographer: Joseph, Raysee Media/ Model: Sofia Korobova