Proof of Existence Ka Lole Wahine na Hyeonjeong Woo

ʻO Proof of Existence Ka Lole Wahine na Hyeonjeong Woo he mea lanakila hanohano loa o ka 2022 A' Design Award Keleawe ma ka Māhele Hoʻokūkū Hoʻolālā Lole, ʻAʻahu a me Kāpili.

KeleaweLole· 2022

Proof of Existence Ka Lole Wahine

na Hyeonjeong Woo

Mea Kūʻai: Hyeonjeong Woo

Mea Lanakila A' Design Award Keleawe ma ka Māhele Lole

35,761

Mea Lanakila i Hōʻoia ʻIa

Hōʻoia i ke Kūlana Makana no #136492

Kipa i ka Pūnaewele Nānā ma A' Design Award Hoʻolaha Nūhou Hōʻailona Makana

Nā Waihoʻoluʻu

Ka Hoʻolālā

E Pili Ana iā Proof of Existence Ka Lole Wahine

ʻO nā waihoʻoluʻu a me nā hōʻailona o ka hae anuenue ka mea i hoʻoikaika ʻia no kēia hōʻiliʻili mākaukau. Ma waho aʻe o kā lākou mau kikoʻī hoʻolālā e like me ka pahu pleating a me ka shirring, ʻo kēlā me kēia hiʻohiʻona ikaika he mau pendants i hana ʻia e ka lima a me nā peʻa i hoʻopili ʻia i nā lole e hana ana i nā mea leʻaleʻa. ʻO kēia monochrome ikaika a me ka silhouette eccentric kūikawā i kākoʻo ʻia e nā kikoʻī kūkulu e hāʻawi i nā hiʻohiʻona ʻike hoihoi. E pili ana i ka unuhi ʻia ʻana o ka ʻōlelo hoʻolālā i loko o nā lole me ka ʻole o ka hāʻawi ʻana i nā kikoʻī o ke kūkulu ʻana a i ʻole ka nani, e hōʻike ana i nā hiʻohiʻona hou.

Ka Hoʻomaikai

E Pili Ana i ka A' Design Award Keleawe

Ua lanakila ka hoʻolālā Proof of Existence Ka Lole Wahine i ka A' Design Award Keleawe, he ʻike hoʻohanohano nui loa i hāʻawi ʻia i nā hoʻolālā kūʻokoʻa i ʻike ʻia ma o ka hana noʻeau, ka akamai a me ka makakoho. He mau hana mākaukau a hana noʻeau kupaianaha nā lanakila Keleawe e hōʻoia ana i ka ʻike nui, ka noʻonoʻo a me ka maʻalea o kā lākou poʻe hoʻolālā. Manaʻo ʻia ʻo ka hoʻolālā Proof of Existence Ka Lole Wahine he mea i mahalo nui ʻia, hoʻohiwahiwa ʻia a aloha ʻia, he ʻoihana a hou loa. ʻO kēia hoʻolālā i lanakila i ka A' Design Award Keleawe e hoʻohui ana i nā hana maikaʻi loa o ka hana noʻeau, ka ʻepekema, ka hoʻolālā a me ka ʻenehana, a maikaʻi no kona nānā ʻana i nā kikoʻī. Hoʻokō maikaʻi ka hoʻolālā Proof of Existence Ka Lole Wahine i nā pono, hoʻopā i ka makemake, hoʻohiwahiwa i nā manaʻo a huki i ka makemake e ʻike.

Ma Hope o ka Hoʻolālā

ʻEke Nūhou

Nā hōʻoia, nā lālā hui a me nā kikoʻī ʻenehana i hāʻawi ʻia e ka mea hoʻolālā.

Nā ʻAno Kūʻokoʻa: 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.
Nā Ana a me ka Hoʻopili: Industry-standard size of S/M for women.
Nā Lepili: Monochrome, Womenswear, Street Fashion, Rainbow, Wearable Art, Clothing, Textile Design
ʻEnehana Hana: 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.
Pilikia Hoʻolālā: 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.
Noiʻi: 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.
Hoʻoulu Manaʻo: 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.
Ka Lōʻihi o ka Papahana: It was produced in South Korea from April 2021 to January 2022.
Kaʻina Hana: 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.
Nā Palapala Kuleana: Copyrights to Hyeonjeong Woo, 2022
Nā Kuleana Kiʻi: 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