Completing this short task not only helped us get to know each other as a class and within our groups but also allowed us to explore a new radical way of brainstorming and generating design ideas (along traditional methods such as use of analogy, attribute listing, morphological synthesis, etc.).
Short Introductory Project
Today we were introduced to all of the information necessary regarding future assessment, studio safety, etc.
We equally partook in an introductory group project in which we selected a practitioner, a material and a method in art and were then asked to suggest a project influenced by these three elements. My group selected the practitioner Es Devlin, the material of light, and the method of folding.
From this we brainstormed a variety of ideas and finally put forth the suggestion of a large-scale exhibition/installation in a glass building in which we would shine a variety of lights and fold it using performers' bodies and mirrors. These would then form images relating to science and nature (as the building we selected is a natural science museum).
What is it: A collection of kimono-styled pieces focusing on Japan's landmarks/culture and Japanese symbology and calligraphy, as well as water scarcity
Where does it belong: On the runway/everyday life, in Japan or elsewhere
Target market: Women (Late teens - adult)
Materials: Silk, silk brocade, chirimen, satin weaves (e.g. rinzu) [the latter for the more traditional kimonos], cotton, rayon, polyester.
Processes: Stitching, embroidery, weaving. (More detailed on various kimono processes: http://www.marlamallett.com/k_design.htm)
Influences: I was primordially influenced by a variety of Mary Katrantzou's prints which reminded me of Japan and kimonos. I then used my research into water and writing as well as the designer in order to incorporate all of these together to create a new concept.
Concept: The first couple pieces of the collection would be much more traditionally styled kimonos with very typical Japanese patterns (cherry blossoms, cranes, etc.). The colour scheme for these would be very blue and water-like, and on each piece the Japanese symbol for whichever Japanese landmark/symbol is portrayed is shown (e.g. if the kimono had cherry blossoms on it, the Kanji for sakura would be embroidered onto the kimono as well). This links to the connection between image and writing and how written word was originally developed. The next couple pieces remain in the traditional style of the kimono but are more of a modern take on these, playing with shape and style. The patterns and calligraphy from Japan would continue, however the blue colour scheme decreases slowly. The next set would be even less traditional (hence lighter, tending more to the yukata than the kimono) and show even less blue and tend more to 'dryer' colours. With the decreasing water imagery, the collection would thus represent the growing water scarcity with time.