Proof of Existence Liaparo Tsa Basali ka Hyeonjeong Woo

Moralo oa Proof of Existence Liaparo Tsa Basali ka Hyeonjeong Woo ke mohlodi oa khau e hlomphehang haholo ya 2022 Moputso oa Boronse oa A' Design Award Mokhahleong oa Tlhodisano oa Moralo wa Feshene, Diaparo le Mese.

BoronseFeshene· 2022

Proof of Existence Liaparo Tsa Basali

ka Hyeonjeong Woo

Moreki: Hyeonjeong Woo

Mohlodi oa Moputso oa Boronse oa A' Design Award Mokhahleong oa Feshene

35,761

Mohlodi oa Khau ea Netefaditsweng

Netefatsa Boemo ba Khau bakeng sa #136492

Etela Sebaka Sheba ho A' Design Award Tokollo ya Boraditaba Baeche ya Moputso

Mebala

Moralo

Mabapi le Proof of Existence Liaparo Tsa Basali

Mebala le tšoantšetso ea folakha ea mookoli e bile khothatso bakeng sa pokello ena e seng e loketse ho aparoa. Ho phaella lintlheng tsa bona tsa moralo tse kang ho roala lebokose le shirring, ponahalo e 'ngoe le e' ngoe e matla e boetse e na le li-pendants tse entsoeng ka letsoho le lifaha tse khomaretsoeng masela a bōpang litlolo. Monochrome ena e matla le silhouette e ikhethang ea eccentric e tšehetsoeng ke lintlha tsa kaho e fana ka maikutlo a thahasellisang a pono. E mabapi le hore na puo ea moralo e fetoleloa joang ho liaparo ntle le ho fana ka lintlha tsa kaho kapa botle bo botle, ho fana ka maikutlo a chebahalo e ncha.

Kamohelo

Mabapi le Moputso oa Boronse oa A' Design Award

Proof of Existence Liaparo Tsa Basali ke mohapi oa Moputso oa Boronse oa A' Design Award, kananelo e hlomphehang haholo e fuoang meralo e ikhethang e tsejoang ka boqapi, bohlale ba ho qapa le bohlale. Bahapi ba Boronse ke lintho tse nang le bokhoni ka ho felletseng le boqapi bo hlollang tse tiisang boiphihlelo bo bongata, mohopolo le bokhoni ba ho iphumana ba baqapi ba tsona. Proof of Existence Liaparo Tsa Basali e lebelletsoe ho ba ntho e hlomphuoang haholo, e ratoang le e ratehang, e nang le boprofeshenale bo bonahalang le mehopolo e mecha. Moralo ona o hapileng Moputso oa Boronse oa A' Design Award o kenyelletsa mekhoa e metle ka ho fetesisa bonong, mahlaleng, moralong le theknolojing mme o hlahella ka ho tsepamisa maikutlo lintlheng tse nyenyane. Proof of Existence Liaparo Tsa Basali e kutloisisa litlhoko hantle, e ama litakatso, e hapa maikutlo mme e tsosa takatso ea ho tseba.

Ka Mora Moralo

Sete ya Boraditaba

Litlhaku, ditho tsa sehlopha le lintlha tsa botekgeniki tse fanoeng ke moetsi wa moralo.

Boleng bo Ikhethang: 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.
Boholo le Phuthelo: Industry-standard size of S/M for women.
Lithegi: Monochrome, Womenswear, Street Fashion, Rainbow, Wearable Art, Clothing, Textile Design
Theknoloji ya Tlhahiso: 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.
Phephetso ya Moralo: 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.
Dipatlisiso: 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.
Kgothaletso: 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.
Nako ya Projeke: It was produced in South Korea from April 2021 to January 2022.
Tsamaiso ya Mosebetsi: 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.
Diphatente: Copyrights to Hyeonjeong Woo, 2022
Litlotla tsa Setshwantsho: 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