Floral Album Hōʻiliʻili Lole Hoʻonani na Xinyu Zheng

ʻO Floral Album Hōʻiliʻili Lole Hoʻonani na Xinyu Zheng he mea lanakila hanohano loa o ka 2026 A' Design Award Hao ma ka Māhele Hoʻokūkū Hoʻolālā Lole, ʻAʻahu a me Kāpili.

HaoLole· 2026

Floral Album Hōʻiliʻili Lole Hoʻonani

na Xinyu Zheng

Mea Kūʻai: Tulip 'n room

Mea Lanakila A' Design Award Hao ma ka Māhele Lole

10,480

Mea Lanakila i Hōʻoia ʻIa

Hōʻoia i ke Kūlana Makana no #177958

Nānā ma A' Design Award Hoʻolaha Nūhou Hōʻailona Makana

Nā Waihoʻoluʻu

Ka Hoʻolālā

E Pili Ana iā Floral Album Hōʻiliʻili Lole Hoʻonani

He hōʻiliʻili lole hoʻonani ʻo Floral Album i hoʻoulu ʻia e nā kiʻi ʻohana mai nā makahiki 1980. Ua hana ʻia ka hōʻiliʻili mai nā lole i koe ʻole i hoʻohana ʻia i hui pū ʻia me kekahi mau ʻano hana lima. Hoʻopili ʻia ka humuhumu lima, ke kolokē, ka hoʻokomo momi, ke kā ulana, a me ke kihi keʻa i ka weleweka a i nā lole ʻike ʻia i hoʻopaʻa papa ʻia. Aia i loko o nā lihi kolokē a me nā ʻāpana ulana nā mea sequin e hopu ana i ka mālamalama i ka neʻe ʻana o ka mea ʻaʻahu. Kūkulu ʻia kēlā me kēia lole ma ke ʻano pākahi, no laila ʻaʻohe ʻāpana i hana hou ʻia. He nui kūʻokoʻa nā ʻāpana a pau. Hoʻopili ka hōʻiliʻili i ka hana lima kikoʻī me ka hoʻohana hou ʻana i nā mea i haʻalele ʻia.

Ka Hoʻomaikai

E Pili Ana i ka A' Design Award Hao

Ua lanakila ka hoʻolālā Floral Album Hōʻiliʻili Lole Hoʻonani i ka A' Design Award Hao, he ʻike hoʻohanohano i hāʻawi ʻia i nā hoʻolālā maikaʻi e hoʻokō ana i nā koi ʻoihana a ʻoihana hana i manaʻo ʻia mai nā mea hoʻokumu i hana maikaʻi ʻia. Hōʻike nā lanakila Hao i ka mākau nui, ka loea kiʻekiʻe, ka ʻike akamai a me ka hiki hana noʻeau o ka poʻe i hana iā lākou. Manaʻo ʻia ʻo ka hoʻolālā Floral Album Hōʻiliʻili Lole Hoʻonani he mea hoʻokumu i mahalo nui ʻia, hoʻohiwahiwa ʻia a aloha ʻia e pono a hou. ʻO kēia hoʻolālā i lanakila i ka A' Design Award Hao e hoʻohui ana i nā hana maikaʻi loa o ka ʻoihana a loaʻa nā ʻano ʻenehana mākaukau i hui pū ʻia me ka ʻike hana a me ka makakoho. Mahalo ʻia ka hoʻolālā Floral Album Hōʻiliʻili Lole Hoʻonani no kona nānā pono a ua hoʻolālā ʻia e hāʻawi i nā hoʻomaikaʻi ola e kōkua ai i ka hana ʻana i ka honua i wahi maikaʻi aku.

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: This collection reinterprets craftsmanship through the integration of deadstock fabrics and multiple handcraft techniques. Each garment is individually constructed using hand embroidery, crochet, beading, and hand knitting, resulting in unique pieces with no repetition. By layering reclaimed materials with detailed surface work, the collection highlights the value of overlooked resources and connects tactile craftsmanship with contemporary design sensibility.
Nā Ana a me ka Hoʻopili: All the pieces are free size.
Nā Lepili: tulip n room, sustainable fashion, hand embroidery, deadstock fabrics, recycled materials, haute couture
ʻEnehana Hana: Each piece is developed using deadstock fabrics combined with multiple handcraft techniques. Velvet, crochet, beading, embroidery, knitting, and cross stitch are applied through experimental craftsmanship. The production process integrates hand beaded garments, crocheted trims with sequin elements, knitted pieces using sequin yarns, and layered transparent textiles. The approach balances couture level precision with sustainable material practices.
Pilikia Hoʻolālā: The main challenge lay in balancing nostalgic aesthetics with sustainable production limits. Many desired fabrics were no longer available, requiring extensive trials with deadstock and recycled materials. Achieving hand-embroidered precision on uneven surfaces demanded technical adaptation. The process also involved redefining femininity through craft while ensuring each garment remained wearable and relevant to modern audiences.
Noiʻi: The research began as a qualitative exploration of how emotional memory can shape sustainable fashion. The objective was to reinterpret 1980s silhouettes using responsible materials and handcraft techniques. Research methods included material experimentation, archival image analysis, and wearer interviews to study emotional connection to garments. Results revealed that tactile handwork and recycled materials enhance both emotional resonance and sustainability awareness in contemporary fashion.
Hoʻoulu Manaʻo: Inspired by my grandmothers photographs from the 1980s, this project examines fashion as a carrier of personal and collective memory. Visual elements from domestic environments such as lace curtains, plastic flowers, and embroidered tablecloths are abstracted and translated into textiles, surface embellishments, and silhouette structures. The collection reinterprets nostalgia through contemporary design, positioning fashion as an archive of identity, cultural inheritance, and transformation.
Ka Lōʻihi o ka Papahana: This project was initiated in April 2023 and completed in September 2024 in New York.
Kaʻina Hana: The collection is experienced through movement and tactile interaction. As the wearer moves, layered embroidery and sequins catch light, revealing hidden patterns and shifting textures. The garments invite sensory engagement, encouraging emotional connection through touch and reflection. Each piece performs as both clothing and storytelling medium, blending comfort with expressive form.
Nā Palapala Kuleana: Copyrights belong to Xinyu Zheng, 2025.
Trademark (2025) Tulip N’ Room.
Nā Lālā Hui: /
Nā Kuleana Kiʻi: Stefy Lin, 2024.