The Withering Flower Ao Oñembohasapyréva Angela Tsai Jung Chiang omba'apóva

The Withering Flower Ao Oñembohasapyréva Angela Tsai Jung Chiang omba'apóva ha'e rembiporuarã oñemba'eguaséva 2020 A' Design Award Pláta pegua Ao Rapo Jejapo Ñeha'ã Categoría-pe.

PlátaAo Rapo· 2020

The Withering Flower Ao Oñembohasapyréva

Angela Tsai Jung Chiang -gua

Mba'eporuhára: Angela Chiang

A' Design Award Pláta Rembiporuarã Ao Rapo Categoría-pe

60,390

Premio Rembiporuarã Oñemoneĩva

Emoneĩ Premio Reko #95294 Peg̃ua

Eike Tendápe Ehecha A' Design Award-pe Marandu Myasãi Mba'ete Jeguerohory

Sa'y

Diseño

The Withering Flower Ao Oñembohasapyréva Rehegua

Yvoty Okañýva ha'e peteĩ mbojerovia yvoty ra'ãnga mbarete rehegua. Yvoty ha'e peteĩ mba'e ojeporuvéva yvypóra ramo ojehai haguére China ñe'ẽnga'úpe. Yvoty hovy'úva ojehayhúva rehe, yvoty okañýva ra'ãnga oñemombyky jepi mba'e vai ha ñe'ẽñemi ndive. Ko mba'eapopyrépe ohesa'ỹijo mba'épa omoheñói peteĩ tekohápe jehecha mba'épa ha'e iporãitereíva ha mba'épa iva'éva. Ojejapo 100 cm-gui 200 cm pukukue ao tul-gui, oñembohasa serigrafía rupive malla hesape'ãvápe, ao rembiapo rupive umi ta'ãnga opyta ndojesýi ha oñembýva malla-pe, omoheñóivo peteĩ ñehesa'ỹijo ta'ãnga ovevéva yvágape.

Jeguerohory

A' Design Award Pláta Rehegua

The Withering Flower Ao Oñembohasapyréva ohupyty A' Design Award Pláta, peteĩ ñehechakuaa extraordinariamente prestigioso oñeme'ẽva diseño de primera línea, hechapyrãva ha impresionante-pe. Umi ganador Pláta ha'e tembiapo brillante ha heta creativo ohechaukáva expertise, talento ha agudeza sobresaliente umi diseñador-pe. Oñeha'ãrõ The Withering Flower Ao Oñembohasapyréva ha'eha peteĩ tembiapo maravilloso, ejemplar, profesional ha innovador pypukuvéva. Ko diseño ohupytýva A' Design Award Pláta ha'e invento ojehechakuaáva ha ojehayhúva ohepyme'ẽva ha ombohasáva límite arte, ciencia, diseño ha tecnología rehegua. The Withering Flower Ao Oñembohasapyréva ha'e creación heta ojeenvidiáva omokyre'ỹva ipotapy, ome'ẽva sentimiento positivo ha omoheñóiva maravilla ha sorpresa.

Diseño Rapykuéri

Marandu Aty

Diseñador ome'ẽva'ekue crédito, aty pegua ha mba'e técnico.

Mba'e Iñambuéva: The Withering Flower collection developed a series of silk screen printed fabrics and dresses. Each dress is length 2 meters long of sheer nets, composed of flower motifs with specific meaning according to its symbolism in Chinese literature. The textile printing technique enabled the binders to stay opaque, flexible, and waterproof on stretchy yet see-through nets, creating an illusion of prints floating in the air as well as tattoos on the skin when the dress is worn against the body.
Tuichakue ha Ñemyenyhẽ: Long dress's dimension: W 450mm x L 2000mm
Short dress's dimension: W 450mm x L1300mm
Ñe'ẽ Rape: Textile, Fashion, Fabric, Flower, Screen Printing, Innovative Textile, Central Saint Martins,
Ñeapopy Tecnología: Silk screen printing on stretchy and see-through nets. By specific mixture of textile binder ratios to achieve the stickiness and opaqueness that the prints would secure onto the fabric surface. After silk screen printing, the fabrics are sent into baking and steaming for colour vibrancy as well as further locking the binders onto the fabrics.
Diseño Jepy'apy: The research challenge appeared when I started reading Chinese literature classics, yet to organize the literary references in order to strengthen the point in the withering flower as an abject. Yet we know the decaying things meant bad luck in fengshui, but why?
The misfortune and dead are an avoided subject which I was taught since childhood. But what is shaping my instinctive judgement that withering matters repel us? Is it the knowledge passed down from my parents, or their parents, or the ancestors before them? Since when and how are our immediate responses to certain subjects are formed? Is the common sense formed in generation of cultures, through written records, spoken languages, families' upbringings that the idea of death equals taboo.

The design and execution challenge is the most struggling during the making of the textiles. Getting the right ratio for the print binder has failed several times, the paste was either too light to stay on top of the fabrics, or too heavy that the fabrics became sticky and unwearable. After many efforts on print binder ratio testing, steaming temperature experiments, baking process, and checking washability, finally came out an adequate measure that securely locked the opaque print on see-through net fabrics, and at the same time retained the glossy appearance, flexibility, waterproof qualities.
Ñesẽheka: The research for The Withering Flower collection began with studying the Chinese Literature classic, The Dream of the Red Chamber, a novel by Cao Xueqin, originally published in 1791 in China, later adapted and translated to English in 1987.

My research on the flower image, especially the symbolic decaying flower image in Oriental settings further developed from studying the female protagonist's epiphany, whereas the character sings, The Song of the Flower Burial, during chapter 27 in The Dream of the Red Chamber.
The fallen and decayed petals beautifully yet melancholically symbolized the female protagonist’s struggle and sorrow in an oppressed feudal aristocrat society.

As the flower is a common subject for personification in Chinese literature and poetry, the meaning each flower embodies, or given by the writer and poet, is derived from its cultural and historic values.

By first examining flower representation in Chinese cultural settings through literature works, I learnt about the principles of flower symbolism is to primarily promote good luck and well-being. And yet, the heritage-rich knowledge in measuring good fortune resulted in the study of fengshui, and it still retains its significant influence over Asian countries. There is a myth in Chinese tradition that people subconsciously desire to surround their presence with things that resemble fortune in literature meanings. Therefore the subject of a decaying flower is perceived as misfortune and taboo, in contrary to the blooming flower's meaning in longevity and prosperity.

Another example, in Chinese culture the white chrysanthemum is the flower for funeral, and would be considered as a jinx if given on a normal occasion. The number 4 has the same pronunciation as death, and is avoided at hotel and apartment's unit number, even hospital would exclude the fourth floor at flooring plan, yet skipping from third floor directly to fifth floor at building indicator maps. The number 4 is as well a bad-luck number at giving out gifts, flowers, or the amount of red envelope money at Chinese new year.

The dead flower on the body leads to taboos about mortality and loss, as even the slightest sight of a vase of decaying flower is seen as an abject, and to be avoided in Chinese culture and custom. The dilemma I experienced around the cultural responses over the withering flower inspired me to analyze the traditions and paradigms that are shaping our aesthetics.
Inspiración: The Withering Flower collection is inspired by the power of the flower image, its impact both visually and symbolically in Oriental setting.
From the flower’s precise metaphor in classical Chinese literature, The Dream of the Red Chamber, which simultaneously reflects the women living in a feudal society in the stories; to the extend of how the flowers are interpreted in fengshui as well as gifting etiquette, I was vividly drawn to the Oriental world of defining the flower visuals.
Proyecto Ára Tuichakue: The project started in January 2016 in London UK, and finished in April 2016. It was exhibited at Central Saint Martins College of Art and Design as my graduation collection show for BA Degree in Fashion Design.
Mba'apo Rape: The collection's hand printed textiles are stretchy, waterproof, and remained opaque on sheer net fabrics, creating an illusion of glossy stickers floating in the air. Unlike digital sublimation printing on sheer fabrics whereas the patterns are blended into the material yet making them semi-see through, this textile collection developed a screen printing technique to keep the opaqueness and vibrancy of the prints staying securely on top of the fabric surface.
Patente-kuéra: Copyrights belong to Angela Chiang, 2020.
Ta'ãnga Mba'eñemoneĩ: Image #1: Photographer Yi Tuo/ Lookbook Stylist Zipeng Li, The Withering Flower, 2016.
Image #2: Photographer Yi Tuo/ Lookbook Stylist Zipeng Li, The Withering Flower, 2016.
Image #3: Photographer Yi Tuo/ Lookbook Stylist Zipeng Li, The Withering Flower, 2016.