The Opposite Àkójọpọ̀ Aṣọ Híhun láti ọwọ́ Yishu Yan

The Opposite Àkójọpọ̀ Aṣọ Híhun láti ọwọ́ Yishu Yan jẹ́ aṣẹ́gun olókìkí púpọ̀ ti 2024 Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Ìdíje Àpẹẹrẹ Àṣà Ìmúra, Aṣọ àti Ẹ̀wù.

FàdákàÀṣà Ìmúra· 2024

The Opposite Àkójọpọ̀ Aṣọ Híhun

látọ̀wọ́ Yishu Yan

Aṣẹ́gun Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Àṣà Ìmúra

664,173

Aṣẹ́gun Àmì Ẹ̀yẹ Tí a Jẹ́rìísí

Jẹ́rìísí Ipò Àmì Ẹ̀yẹ fún #157237

Ṣàbẹ̀wò Ojú Òpó Wo ní A' Design Award Ìwé Ìròyìn Àmì Ẹ̀yẹ

Àwọ̀

Àpẹrẹ Náà

Nípa The Opposite Àkójọpọ̀ Aṣọ Híhun

The Opposite jẹ́ àkójọpọ̀ aṣọ híhun tí ọkùnrin àti obìnrin lè wọ̀, tí a ṣe àpẹrẹ rẹ̀ kí a lè wọ̀ ọ́ ní onírúurú ọ̀nà. A ṣe àkójọpọ̀ náà pẹ̀lú àwọn ọ̀nà tí kò ní gígé kankan àti tí kò ní àdánù kankan, nítorí náà kò sí aṣọ tí a ń dà nù. A lo híhun oní-dígítà láti ṣe àwọn ìhun onígun-mẹ́ta tí ó rọ̀ àti àwọn ìkọ́lé aṣọ tí a lè yí padà. Àwọn ohun èlò láti inú aṣọ méjèèjì ni a lè pàṣípààrọ̀ kí a sì bá wọn mu ní onírúurú àkópọ̀, èyí tí ó jẹ́ kí ẹnìkọ̀ọ̀kan tí ó wọ̀ ọ́ lè dá ara rẹ̀ ní àṣà tirẹ̀. Àpẹrẹ tí ó bá gbogbo ìwọ̀n mu yìí bá ọ̀pọ̀lọpọ̀ ènìyàn tí ara wọn wà ní ìwọ̀ntúnwọ̀nsì mu. The Opposite ń béèrè ìbéèrè nípa àwọn èrò tí ó wọ́pọ̀ nípa aṣọ ọkùnrin àti aṣọ obìnrin.

Ìdánimọ̀ Náà

Nípa Àmì-ẹ̀yẹ Fàdákà A' Design Award

The Opposite Àkójọpọ̀ Aṣọ Híhun jẹ́ olùborí Àmì-ẹ̀yẹ Fàdákà A' Design Award, ìdánimọ̀ onípọ̀nlé lọ́nà àrà ọ̀tọ̀ tí a fún àwọn àwòṣe ìpele gíga jùlọ tó dára tó sì ń kan ọkàn. Àwọn olùborí Fàdákà jẹ́ àwọn iṣẹ́ tó ń tàn yòò gidigidi tó sì ní ìṣẹ̀dá púpọ̀ tí wọ́n ń ṣàfihàn ìmọ̀ ìjìnlẹ̀, ẹ̀bùn àti ìmọ̀ràn àwọn olùṣàwòṣe wọn. A retí pé The Opposite Àkójọpọ̀ Aṣọ Híhun yóò jẹ́ iṣẹ́ àgbàyanu, àpẹẹrẹ rere, ti ọ̀jáfáfá lọ́nà tó ṣe pàtàkì tó sì ní ìmúṣẹ̀dá tuntun jinlẹ̀. Àwòṣe tó borí Àmì-ẹ̀yẹ Fàdákà A' Design Award yìí jẹ́ ohun ìmúṣẹ̀dá tó hàn gbangba gidigidi tí a mọrírì tó ń ṣe anfàní tó sì ń tì ààlà iṣẹ́ ọnà, sáyẹ́ǹsì, àwòṣe àti ìmọ̀-ẹ̀rọ síwájú. The Opposite Àkójọpọ̀ Aṣọ Híhun jẹ́ ẹ̀dá tí ọ̀pọ̀lọpọ̀ ń ṣe ìlara, tó ń jí ìfẹ́ inú, tó ń mú ìmọ̀lára rere wá tó sì ń jí ìyàlẹ́nu àti ìyanu.

Lẹ́yìn Àpẹrẹ Náà

Àkójọ Ìròyìn

Àwọn ẹ̀tọ́, àwọn ọmọ ẹgbẹ́ àti àlàyé ìmọ̀ ẹ̀rọ tí olùṣàpẹrẹ pèsè.

Àwọn Ohun Àkànṣe: "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.
Ìwọ̀n àti Àpò: This garment is an all-size design and will fit most people of average build.
Àwọn Àkọlé: Fashion Design, Knitwear, Multiple Wearing Methods, Unisex Design, Digital Knitting, Sustainable Design, Zero-waste, Zero-cut, Adaptative Design
Ìmọ̀-ẹ̀rọ Ìṣelọ́pọ̀: 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.
Ìpèníjà Àpèsè: 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.
Ìwádìí: 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.
Ìmísí: 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.
Àkókò Iṣẹ́ Àkànṣe: 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.
Ìlànà Ìṣiṣẹ́: 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.
Àwọn Ọmọ Ẹgbẹ́: Academic adviser: Kinor Jiang & Jinyun Zhou
Ìfọwọ́sí Àwòrán: Image #1-5: Photographer: Joseph, Raysee Media/ Model: Sofia Korobova