Proof of Existence Cihuatlaquemitl ītēchcopa Hyeonjeong Woo

Tlanāhuatīlli Proof of Existence Cihuatlaquemitl ītēchcopa Hyeonjeong Woo cē cencā mahuizzō tēmacēhualōni īpan huēyi 2022 Mahuizolli A' Design Award Bronse īpan Tlaquentiztli, Tilmahtli ihuan Tlaquemitl Tlachihchihualiztli Nēhuilīztli Tlamantli.

BronseTlaquentiztli· 2022

Proof of Existence Cihuatlaquemitl

īpal Hyeonjeong Woo

Tlanāhuatīlli: Hyeonjeong Woo

Mahuizolli A' Design Award Bronse Tēmacēhualōni īpan Tlaquentiztli Tlamantli

35,761

Tlaneltīlīlli Tēmacēhualōni

Xictlaneltilia Tēmacēhualli ītēchcopa #136492

Xiquitta Tlahcuilōlcalli Xiquitta A' Design Award ītechcopa Āmatl Tēmachiyōtīliztli Tlamachiōtl

Tlapalli

Tlanēxtilistli

Ītechcopa Proof of Existence Cihuatlaquemitl

In tlapalehuani huan tozcayotl ipan cozamalotl pamitl omochiuh tlaihiyohualiz ipan inin tlaquemitl. Ihuan ipan intlatequipanolli tlachihualiz quemeh box pleating huan shirring, nochipa chicahuac nezcayotl quipia imaitlchihualli pilcame huan cozcame tlatzacuilli ipan tilmame, mochihuaz tlanemiliztli. Inin chicahuac cecyac-tlapalli huan amoxtli nezcayotl, palehuilli ipan tlachihualiz tlatequipanolli, quitemaca pactiz ixtlamachiliztli. Mochipa ipan quenin yoliliztiz ica tlachihualiz caquiztli mochihualoa ipan tlaquemitl amo poloz intlatequipanolli tlachihualiz nozo cualnemilistli, tlanextia yancuic nezcayome.

Tēixīmachōtiliztli

Ītechcopa Mahuizolli A' Design Award Bronse

Proof of Existence Cihuatlaquemitl ca in quicuic in Mahuizolli A' Design Award Bronse, hueyi tlamahuizoliztli tlen momaca in cualli tlachihualli in motenehua ipampa yancuic tlamantli, tlamatiliztli ihuan ixtlamatiliztli. In quicuicah Bronse ca tlachihualli in quipia toltecayotl ihuan quinextia in cenca miac nemiliztli ihuan tlamatiliztli intlachihuanime. Ca quinequi in Proof of Existence Cihuatlaquemitl ca tlazohtli tlamantli, mahuiztic ihuan cualli. Ni dizayno in quicuic Bronse quipia cualli toltecayotl ihuan quitta in tlen tepiton. Proof of Existence Cihuatlaquemitl quipaquiltia in tlacah ihuan quitlamahuiztiltia in intlanequiliz.

Tlanēxtilistli Ītēixpan

Āmatl Tlanextīliztli

Tlapōhualli, tēquitqueh īwan tēchmachilīztli ōquinmaca in tlanēxtīlīlli.

Cē Zan Ītēchcopa: The rainbow flag serves as an inspiration for this streetwear-inspired collection, with each of the colors denoting a different aspect of what we hold dear in life. Handcrafted resin jewelry depicting nature-inspired designs adorns the monochromatic. I investigated ways to realize traditional two-dimensional repeated prints on fabrics into three-dimensional work to create exciting textures, each look holding different meanings. I concentrated on the thoughts and feelings while visualizing and tactilely experiencing each color and linked them to its purpose. Red represents life; Yellow means the sunlight, which reminds me of Atlanta, with great pine pollen in the springtime, which led me to use yellow durag. Green reflects nature, but it also means poison. To imply that, I painted the deadstock poly fabric with acrylic paint. Blue represents harmony. Finally, I used purple taffeta to achieve this effect by reflecting sun rays, creating the illusion of Venus or the Statue of Liberty.
Huēyiliztli īhuān Tlacualtepēhualli: Industry-standard size of S/M for women.
Tōcāitl: Monochrome, Womenswear, Street Fashion, Rainbow, Wearable Art, Clothing, Textile Design
Tlachīhualiztli Māchiyōtl: Utilizing my deadstock fabrics was the key. Initially, I had no intention of creating monochrome looks, but after doing some research, it became clear that this was the best option. I wanted to add dynamics to the eyes, I decided to make my own embellishments to add interplay and exciting textures to the design while staying true to its concept. I applied hand-drawn, molded, colored, ground, coated, and hand-stitched resin embellishments. I experimented with as many fabrics as I could find around, when I couldn't find the right color, I dyed, painted, or printed them since I wanted to maximize the use of fabric and buy less. I also sought to accomplish fruitful design details and structures and offer intricate designs and silhouettes, shirring, unbalanced cutting, pleating, and draping techniques to give organic and geometric aesthetics while having fun with small design details. The more the audience looked closer, the more details they could find.
Tlanāhuatīlli Nētēcahuilīztli: In this collection, five different fabrics had to be utilized and placed correctly, which was the most challenging part of the project because using deadstock could mean a limited choice. Each material has its unique characteristics and quality; unexpected accidents always occur. Besides, I was desperate for industrial sewing machines and sergers. It also was my first time working with epoxy resin; producing hundreds of tiny pieces, casting, and grinding was such a time-consuming process. Everything was well-assembled and provided enjoyment in discovering small details, so it was worthwhile.
Tlatēmōliztli: Designers and artists should each have their own values and principles that guide their work. To make the world a better place, they must put in the time and effort and offer their skills to it. I use fashion as a platform because I believe the wearer can be a great exhibition with mobility; I frequently use it as a chance to discuss mental health with social issues; The rainbow flag's origins can be traced back to that place because it symbolizes acceptance and love, two things we desperately need.
Tēyōllālīliztli: As a result of the rise in hate crimes against the socially marginalized, I've found it increasingly difficult to deal with the issues. This collection was created in response to it, and it was inspired by rainbow flags, which intuitively represent the harmony, peace, and love we so desperately need right now. The collection's key is in how imaginatively it interprets the meaning of rainbow-hued clothing.
Tēquitl Cāhuitl: It was produced in South Korea from April 2021 to January 2022.
Tēquitl Ōhuitl: The primary and monochromatic hues give the clothes distinct energy of their own. With a wide range of fabric and garment construction techniques, it is Ready-To-Wear; however, the unique fabrications and decorative elements allow it to provide an elevated atmosphere to the wearers and viewers. Most garments are light to midweight; the wearer can perform without hassles and not lose the aesthetics. It can be worn in various settings, from business to a night on the town. Its traditional patternmaking method comforts the wearers, but its intense colors and unique surface design will make a difference. Equipped with both straight and curved harmony, softness, and solidity, this collection is faithful to the role of clothes yet aesthetical.
Patentēmeh: Copyrights to Hyeonjeong Woo, 2022
Īxiptla Tlanēxtīlli: Image #1: Hyeonjeong Woo, Proof of Existence, 2022
Image #2: Hyeonjeong Woo, Proof of Existence, 2022
Image #3: Hyeonjeong Woo, Proof of Existence, 2022
Image #4: Hyeonjeong Woo, Proof of Existence, 2022
Image #5: Hyeonjeong Woo, Proof of Existence, 2022