Floral Album Àkójọpọ̀ Aṣọ Onídàárà láti ọwọ́ Xinyu Zheng

Floral Album Àkójọpọ̀ Aṣọ Onídàárà láti ọwọ́ Xinyu Zheng jẹ́ aṣẹ́gun olókìkí púpọ̀ ti 2026 Àmì-ẹ̀yẹ Irin A' Design Award nínú Ẹ̀ka Ìdíje Àpẹẹrẹ Àṣà Ìmúra, Aṣọ àti Ẹ̀wù.

IrinÀṣà Ìmúra· 2026

Floral Album Àkójọpọ̀ Aṣọ Onídàárà

látọ̀wọ́ Xinyu Zheng

Oníbàárà: Tulip 'n room

Aṣẹ́gun Àmì-ẹ̀yẹ Irin A' Design Award nínú Ẹ̀ka Àṣà Ìmúra

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Aṣẹ́gun Àmì Ẹ̀yẹ Tí a Jẹ́rìísí

Jẹ́rìísí Ipò Àmì Ẹ̀yẹ fún #177958

Wo ní A' Design Award Ìwé Ìròyìn Àmì Ẹ̀yẹ

Àwọ̀

Àpẹrẹ Náà

Nípa Floral Album Àkójọpọ̀ Aṣọ Onídàárà

Floral Album jẹ́ àkójọpọ̀ aṣọ onídàárà tí àwọn fọ́tò ìdílé láti àwọn ọdún 1980 fún ní ìmísí. Wọ́n fi àwọn aṣọ tí ó ṣẹ́kù láìlò (deadstock) ṣe àkójọpọ̀ náà, pẹ̀lú oríṣiríṣi ọgbọ́n iṣẹ́ ọwọ́. Iṣẹ́ ìránṣọ́ọ̀nà ọwọ́ (embroidery), iṣẹ́ krosẹ́ẹ̀tì, iṣẹ́ ìlẹ̀kẹ̀, iṣẹ́ híhun àti iṣẹ́ ìránṣọ́ọ̀nà agbélébùú ni wọ́n lò lórí aṣọ fẹ́lífẹ́tì àti lórí àwọn aṣọ aláfojúrí tí wọ́n to lélẹ̀ lọ́wọ̀ọ̀wọ́. Àwọn etí aṣọ tí wọ́n fi krosẹ́ẹ̀tì ṣe àti àwọn ege híhun ní àwọn ohun ọ̀ṣọ́ tí ń dán (sequin) nínú, tí ó máa ń mú ìmọ́lẹ̀ nígbà tí ẹni tí ó wọ̀ ọ́ bá ń rìn. Wọ́n ṣe aṣọ kọ̀ọ̀kan ní ọ̀tọ̀ọ̀tọ̀, nítorí náà kò sí ege kankan tí ó tún ara rẹ̀ ṣe. Gbogbo àwọn ege náà jẹ́ ìwọ̀n òmìnira (free size). Àkójọpọ̀ náà so iṣẹ́ ọwọ́ alálàyé pọ̀ mọ́ àtúnlò àwọn ohun èlò tí a ti gbàgbé.

Ìdánimọ̀ Náà

Nípa Àmì-ẹ̀yẹ Irin A' Design Award

Floral Album Àkójọpọ̀ Aṣọ Onídàárà jẹ́ olùborí Àmì-ẹ̀yẹ Irin A' Design Award, ìdánimọ̀ olókìkí tí a fún àwọn àwòṣe tó dára tí wọ́n pàdé àwọn ohun tí iṣẹ́ àti ilé-iṣẹ́ nílò tí a retí láti ọ̀dọ̀ àwọn ẹ̀dá tí a ṣàwòṣe dáradára. Àwọn olùborí Irin ń fi ìjáfáfá ńlá, ìmọ̀ pàtó gíga, òye ògbóǹtarìgì àti agbára ìṣẹ̀dá àwọn olùṣẹ̀dá wọn hàn. A retí pé Floral Album Àkójọpọ̀ Aṣọ Onídàárà yóò jẹ́ ẹ̀dá tí a kà sí gidigidi, tí a gbóríyìn fún tí a sì nífẹ̀ẹ́, tó wúlò tó sì ní ìmúṣẹ̀dá tuntun. Àwòṣe tó borí Àmì-ẹ̀yẹ Irin A' Design Award yìí ń kó àwọn ọ̀nà tó dára jùlọ ilé-iṣẹ́ jọ, ó sì ní àwọn ànímọ́ ìmọ̀-ẹ̀rọ tó péye tí a so mọ́ ìmọ̀ ṣíṣe àti ẹ̀bùn. A bọ̀wọ̀ fún Floral Album Àkójọpọ̀ Aṣọ Onídàárà nítorí ìfọ̀kànbalẹ̀ rẹ̀, a sì ṣàwòṣe rẹ̀ láti pèsè ìmúdára ìgbésí ayé tó ń ran ayé lọ́wọ́ láti di ibi tó dára jù.

Lẹ́yìn Àpẹrẹ Náà

Àkójọ Ìròyìn

Àwọn ẹ̀tọ́, àwọn ọmọ ẹgbẹ́ àti àlàyé ìmọ̀ ẹ̀rọ tí olùṣàpẹrẹ pèsè.

Àwọn Ohun Àkànṣe: 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.
Ìwọ̀n àti Àpò: All the pieces are free size.
Àwọn Àkọlé: tulip n room, sustainable fashion, hand embroidery, deadstock fabrics, recycled materials, haute couture
Ìmọ̀-ẹ̀rọ Ìṣelọ́pọ̀: 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.
Ìpèníjà Àpèsè: 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.
Ìwádìí: 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.
Ìmísí: 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.
Àkókò Iṣẹ́ Àkànṣe: This project was initiated in April 2023 and completed in September 2024 in New York.
Ìlànà Ìṣiṣẹ́: 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.
Àwọn Ìwé-ẹ̀rí Ohun-Ìmọ̀: Copyrights belong to Xinyu Zheng, 2025.
Trademark (2025) Tulip N’ Room.
Àwọn Ọmọ Ẹgbẹ́: /
Ìfọwọ́sí Àwòrán: Stefy Lin, 2024.