The Withering Flower Cov Luam Tawm Textile los ntawm Angela Tsai Jung Chiang

Qhov qauv tsim The Withering Flower Cov Luam Tawm Textile los ntawm Angela Tsai Jung Chiang yog tus yeej muaj nqis heev ntawm qhov khoom plig 2020 A' Design Award Nyiaj hauv Pawg Sib Tw Tsim Ntaub, Ntaub Ntawv, Ntxhib, Qauv thiab Ntaub Tawv.

NyiajNtaub· 2020

The Withering Flower Cov Luam Tawm Textile

los ntawm Angela Tsai Jung Chiang

Tus Neeg Siv: Angela Chiang

Tus Yeej A' Design Award Nyiaj hauv Pawg Ntaub

59,551

Tus Yeej Khoom Plig Tau Txheeb Xyuas

Txheeb Xyuas Qhov Xwm Txheej Khoom Plig rau #95294

Mus Saib Lub Vev Xaib Saib ntawm A' Design Award Tsab Xov Xwm Daim Phiaj Khoom Plig

Xim

Qhov Tsim

Txog The Withering Flower Cov Luam Tawm Textile

Lub suab paj nruag Withering yog kev ua koob tsheej txog lub zog ntawm daim duab paj. Lub paj yog nrov npe sau ua personification hauv ntawv Suav. Nyob rau hauv sib piv rau lub paj tawg lub koob meej, cov duab ntawm lub decaying paj feem ntau txuam nrog jinx thiab taboos. Cov ntawv sau los saib lub hom phiaj ntawm lub zej zog cov kev xav rau dab tsi sublime thiab abject. Tsim nyob rau hauv 100cm txog 200cm ntev ntawm tulle tiab, silkscreen luam tawm ntawm cov lus translucent ntxaij ntaub, cov txheej txheem textile tso cai rau cov ntawv luam kom nyob opaque thiab stretchy ntawm mesh, tsim cov tsos ntawm luam tawm afloat hauv huab cua.

Qhov Lees Paub

Txog A' Design Award Nyiaj

The Withering Flower Cov Luam Tawm Textile yog tus yeej ntawm A' Design Award Nyiaj, ib qho kev lees paub muaj meej mom heev tshaj li qub uas muab rau cov qauv tsim qib siab, zoo nkauj thiab ua rau neeg xav tsis thoob. Cov neeg yeej Nyiaj yog cov haujlwm ci ntsa iab heev thiab tsim tshiab heev uas qhia txog kev paub, kev txawj ntse thiab kev ntse ntawm cov kws tsim qauv. The Withering Flower Cov Luam Tawm Textile xav tias yuav yog ib qho haujlwm zoo kawg nkaus uas tsim rau qhia, tshaj lij heev thiab tsim tshiab tob. Cov qauv tsim yeej A' Design Award Nyiaj no yog ib qho khoom tsim uas pom tseeb heev thiab neeg qhuas uas pab tau thiab nthuav dav ciam teb ntawm kev kos duab, kev tshawb fawb, kev tsim qauv thiab thev naus laus zis. The Withering Flower Cov Luam Tawm Textile yog ib qho khoom tsim uas neeg coob xav tau, uas ua rau xav, coj kev xav zoo thiab ua rau xav tsis thoob thiab xav paub.

Tom Qab Qhov Tsim

Pob Xov Xwm

Cov credit, cov neeg pab thiab cov ntsiab lus kev txawj ntse muab los ntawm tus tsim.

Yam Tshwj Xeeb: 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.
Qhov Loj & Ntim: Long dress's dimension: W 450mm x L 2000mm
Short dress's dimension: W 450mm x L1300mm
Cov Ntsiab Lus: Textile, Fashion, Fabric, Flower, Screen Printing, Innovative Textile, Central Saint Martins,
Thev Naus Laus Zis Tsim Khoom: 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.
Kev Sib Tw Tsim Qauv: 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.
Kev Tshawb Fawb: 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.
Kev Txhawb Siab: 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.
Lub Sij Hawm Ua Hauj Lwm: 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.
Txheej Txheem Ua Hauj Lwm: 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.
Cov Patent: Copyrights belong to Angela Chiang, 2020.
Kev Qhuas Duab: 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.