1 MASTER DEGREE PROJECT OF FASHION DESIGN
An exploration of Chinese paper cutting technique in relation to body and clothing
Master thesis : Xinqi Yi Instructor : Hanna landin2013. 06.07
Fig 1 Cutting the surface and structure
Fig 2
Top: Simple cuts change the form. 100% PP
Skirt: Cutting the surface and structure PA 5%; PET 95%
2
Fig 4 The method that from folding to cutting is according to the traditional paper cutting Tuan Hua Style.
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Fig 3 Combined folding and cutting.
Bodysuit: Outfit: 90% Cotton, 10% Flax ;
Fig 5
Material: 100% PES; construction: Plain weight 115g/ m2 thickness: 0.35mm Finish White or dyed.
Stiffened.
Fig 6 Top: Re- draping through simple cuts
Fig7 Skirts: Simple cutting; PP 100%
Fig 8
Fig 10 Re draping through simple cuts cut in chiffon.
Fig12 Re draping through simple cuts in silk organza
100% Nylon
Fig 13 Re draping through simple cuts
Abstract
Fig 15 Paper flowers, excavated from QianFo Dong, Cave 17.China, 9th-10th Centuries paper. Ink, pigment Courtesy of the British Museum
CUT IT !
Started from Chinese paper cuttingtechnique. The aim of my project is an exploration of Chinese paper cutting technique in relation to body and clothing. My question is how to transfer traditional craft into digital form and how to bring in the eastern aesthetic essence in a fashion context?
CUT IT !
is built up from a translation of the paper cutting technique into construction of garments from different perspectives. This article is through exploring paper cutting technique aiming to discover the possibility of developing conceptual design based on traditional craft which come to a composition of the result in 9 outfits of women wear. The proper occasion is show or museum.CUT IT is a collection exploring paper cutting as the surface of the
INTRODUCTION
1.1 Paper cutting
I choose paper because of its accessibility: it’s an ‘open’ material. We all have the same memories of paper, and I can use your experience to make you understand what I am saying.”---Thomas Demand (D'Alton, 2009)
Architect Frank Gehry is quoted as saying: “Paper is structure, if I can make it out of paper I know I can build it” (Petry, 2011)
1.2 Paper cutting in the world
Paper cutting travels from China to Korea and Japan. Japanese paper arts included origami (folded-paper sculpture), katagami (cut-paper stencils used for dyeing leather and textiles). As paper moved from East to West, so too did the techniques and styles of papercutting, becoming known by different names. Such as Sanjhi in Indian, scherenschnitte in Germany and Switzerland. Wycinanki in Poland, from its styles and techniques were preserved over the centuries as part of folk culture and are being produced today by such accomplished papercut-cuter as the Swiss artist Ernst Oppliger. Folk art paper cutting traditions also flourished in Jewish communities. Equally well known are the cut tissue papel picado, that were often strung across interiors and streets in Mexico during festivals and religious occasions.
“Artist worldwide have focused their attention on techniques of paper cutting to create two-dimensional works as silhouette-removing sections of paper to permit light to create a contract between foreground and background- and as the first step in assembling separated pieces to build three-dimensional forms.” (Sentance, B. & Sentance.P. 2009). Chinese paper artist explored the medium in many applications- from paintings and calligraphy to printed texts, currency and decorations. A significant number of artists included in Slash: paper under the knife break with the
Chinese Paper Cutting & Function
The reason of exploring paper cutting is that I am wondering how much expressional potential paper cutting has. By experimenting with texture and forms, I am exploring if and how digital contemporary form can present the handcraft Chinese paper cutting in garments.
In the past, not everyone could recognize words; in that case, visual signs seemed to be a better way to spread ideas. Paper cutting could be
Symbolizing
Paper cuttings often have a heavy emphasis on Chinese characters symbolizing the Chinese Zodiac animals. All parts of the country can see paper-cuts; have even formed different local style schools. According to traditional Chinese culture, it can mean good fortune , happiness and represent life and a new beginning. Some times their neighbor will give some paper cutting as a wedding gift to wish happiness. The other veiled symbol of paper cutting is connected with Female Reproductive System. It is usually used by some special patterns and sign to imply having many sons and grandsons and the prosperity of the family. The most common patterns are melon vine and fruits. One melon vine can bear many melons, which is a symbol for a woman who can have many children. (In the past of China, elders believe children symbolize the prosperity of the family.)
Identity
Paper cutting has completely inherited the themes and patterns of the ancient folk arts, as the graphic interpretation of life continuation, which have interpreted the Chinese philosophy of yin and yang and the concept of worship procreation embodied with the simple and beautiful language. By series of reflection and expression of patterns and designs, it has expressed the infinite symbolic meaning of the tangible paper-cutting art. In the rural area of China, many woman devoted themselves to paper cutting. Although they have not taken regular education about art and beauty, but they have the special inspiration gnosis apperception regarding paper cutting. They created a lot of personalized artwork with folk art symbol. The paper cutting is realized as a kind of traditional culture and continually been researched and spread by Chinese women.
Communication
Paper-cut for window decoration not only bring the happy atmosphere of the festival to people, but also consist worthy of watching and
Design programme
‘CUT IT!’ is developed based on the first year project “when paper cutting meet fashion” and the second year research project ‘Transfer’. “When paper cutting meet fashion” investigates the structure in garments through paper cutting combined with pleating in order to develop a material experiment composition. In this project, searching for the direction in clothing based on development in material, silhouettes and structures, and translate paper cutting from 2D flat art into a 3D garment. By analyzing Chinese paper cutting in culture perspective is the start point.
Cultural based design
AIM
An exploration of Chinese paper cutting technique in relation to body
and clothing
Motivation
_ Translate handcraft art form into digital Fabrication expressionCulturally
Since I was born in China, Chinese paper cutting is my favorite craft in my childhood life. As a signature of my life or hand writing, with a strong willing to convey the theme of canon from East to West by deconstructing the traditional Chinese paper cutting technique into a new fashion form. I want to express my personal aesthetic view of fashion context through culture roots.
Kumi Edstrm Kawaji gave us a seminar in the Swedish school of textile; in her work it is about bringing ideas of deconstruction from eastern to western. She had an experience of working for fashion designer Yohji Yamamoto for 5 years. She mentioned in her presentation
Aesthetically:
Paper Artist: Peter Callesen
Fig 16 Peter Callesen’s ,(2014)Large Scale Papercuts : Transparent God, detail. http://www.petercallesen.com/ accessed 2014-02-05
Paper Artist :Noriko
Fig17
Noriko Ambo, (1999)LINEAR-ACTIONS CUTTING PROJECT: A piece of Flat Globe: VOL.4. http://www.norikoambe.com/ accessed 2014-02-05
Noriko Ambo
`I have mapping the mysterious land between physical and emotional geography´.(D’Alton, 2009)
Her work gave me a perfect example of the extreme beauty of handcraft cut in layers of paper sculpture that could achieve. She uses the sculptural pieces to express her emotions and imaginations.
About body:
“It became the subject of intense scrutiny: dismembered, fragmented, desecrated, eroticized and eulogized in the pursuit of a range of psychological, sociological and sexual concerns. These processes were iterated in mind and physical act. Body was a universal, uniting the spheres of psychological and physical and allowing for an exploration of sexuality as an aspect of modernity.”
(Wood, G. 2007,p.6) Bauzano. (2001) demonstrated that Roberto Capucci considers his work to be a study of the figure. His
Fig 18 Jun Nakao (2011) Paper Fashion, Nakao's Runway Art Attacks , http://eclectixart.blogspot.se/2011/05/paper-fashion-nakaos-runway-art-attacks.html accessed 2014-02-05
Paper inspired Fashion designer Jun Nakao
The line is made up of paper which is interesting for observer; ‘A costura do invisivel’ has a playful relationship between garments and viewer. For me, this project is more about visually paper sculpture on body. Jun Nakao use paper sculptural form between body and space in different visually languages. Manually cut and fold the pieces of plain paper into paper sculpture showed me Renaissance and Victorian silhouettes with an unquestionable modernity.
Alexandra Verschueren
Fig .19. Alexandra Verschueren (2010) Hyères Festival 2010: Alexandra Verschueren, http://www.dressingenligne.fr/Blog/festival-de-hyeres-2010-alexandra-verschueren/2935 accessed 2014-02-05
Alexandra Verschueren translates and pushes the idea of paper into the garments. Obviously the treatment of the fabric played a critical important role. She applied folding techniques from Japanese origami architecture to the garments, and paper also was allowed to do all kinds of prints. When I saw her
collections, I was quite curious about how she treated the fabric. In one interview, she mentioned that actually she only used fabrics such as felted wool (with polyester), cottons that searched and strengthened with fusing and tyvek. She tried to treat the fabric as if it was real paper, by manually pleating, folding, cutting the fabric and drawing on it.
Iris van Herpen
Fig 20 Iris van Herpen (2009) ADIATION INVASION –London Fashion Week, accessed http://www.irisvanherpen.com/site/about 2014-02-05 Iris van Herpen’s project is a great revolution from craftsmanship innovation in technique and materials. She creates a new direction of couture that combines fine handwork techniques with futuristic digital technology Her futuristic aesthetic fashion form is of great potential in architecture structure in an organic way to present.
“I find the process of 3D-printing fascinating because I believe it will only be a matter of
time before we see the clothing we wear today produced with this technology, and it’s because it’s such a different way of manufacturing, adding layer by layer, it will be a great source of inspiration for new ideas,” she said.
Accessed
http://www.ecouterre.com/iris-van-herpen-debuts-3d-printed-dresses-at-paris-couture-fashion-week/iris-van-herpen-couture-paris-fashion-week-7/# 2014-04
Her sculpture fashion work combined with handcraft and high technology, in her project showed the application of 3D form in an extreme dramatic
Winde Rienstr
Fig21 Winde rienstra (2011) "11:11" collection: accessed http://winderienstra.com/ 2014-02-05
Gaia Veasyable
Fig22 Gaia Veasvable (2010)Unfold a beautiful intimacy Accessed http://www.veasyble.com/image.html 2014--02-05
Gaia Veasyable- Unfold a beautiful intimacy
VEASYBLE is a 4-piece collection of wearable design accessories for unfolding your contextual presence into a state of beautiful intimacy.
The way that designer visualized folding technique above body is quite a different experience for wearer and it is great example for me to analysis the relationship between wearer , folded
Linda Kostowski& Mashallah Design T-shirt Issue
.
Fig23 www.the-t-shirt-issue.com accessed 2012-08-02 (2012) 3D,2D Seymour, S. 2008, Fashionable technology: the intersection of design, fashion, science and technology, Springer, Wien.
Exploring the new methodologies in fashion design can create new forms and aesthetics. They use actual body data adds a personal layer to the creation. The output of this scan is a 3D file; the resolution is defined by the amount of polygons. The 3D data is turned into 2D sewing patterns via unfolded function, (Seymour, S. 2008)
Design Method
According to Michael Speaks ‘Design intelligence’: “Making becomes knowledge or intelligence creation” In this way thinking and doing, design and fabrication, prototype and final design become blurred, interactive, and part of a non-linear means of innovation. (I wamoto, L. 2009 p.6)
Creative process based on the designed pattern under laser cutting machine .The quote could be seen as an example for a design process. Analysis Paper cutting itself is my way of exploring design direction.The design process is analysis of paper cutting from function, humanistic and artistic perspective. According to this three characters, I decide to make three categories to express this three perspectives.
• Cutting surfaces and structures
According to my research literate of Chinese paper cutting, function of paper cutting is symbolizing, communication, and identity. Through cutting the surfaces and structure of textile technique to create the form of the garment and expressed paper cutting technique into construction of garments. • Combined folding and cutting
Fig 24 How to fold Tuan hua Style Fig 25 Tuan Hua paper cutting process
Fig 26 Example of one fold Tuan hua style
Making the process itself is art for me. Repeated patterns and rhythms are already there when you open it. According to the method of the oldest paper cutting style (fig.24-25), the Tuan Hua style always starts from a square. The fold route follows the pictures shown below(fig 26-27)
Tuan Hua Window Flower is a special precious of paper cutting art around Yellow River Region. It has long history, harmonious form, veiled iconic represent which is used in many ceremonies and philosophically reflect the integration between nature and human being --- the beauty of the nature. There are some special requirements of the paper cutting decoration on the top of the cave and plafond. The Triangle Flower should be pasted in 4 corners and the big Tuan Hua need to be put in the middle of the room. Between each Triangle Flower and Tuan Hua, there are also have to paste a variety of paper cutting pattern. These are the three main parts to consist the whole decoration. Steps of make a Tuan Hua. Firstly fold a piece of square paper certain times and design a pattern accordingly. Drawing sheet of Tuan Hua: Cut out the shadow part, And then open it. Translating sketches into reality is always challenging for me.
•
Reshaping garments through cuts (simple cut) and holes.
Chinese paper cutting
fig 30 symbolizing
identity communication
visualization morse code cutting surface and structure
cultural heritage traditinal style TUAN HUA STYLE-oldest style Combined folding and cutting 2D ---3D Diversity in cuts free style
Development
“When paper cutting meets fashion’’ is my first collection that investigates the structure in garments through paper cutting combined with pleating in order to develop a material experiment composition. In this project, I am searching for the direction in clothing based on development in material, silhouettes and structures, and translate paper cutting from 2D flat art into a 3D garment. The difficulty realized in this project is what kind of material that can visually stand for the concept. The second is how to deal with the making from idea sketches to real body.
This is a composition of four outfits, which can be viewed as an experimental of different material development composition. From sketches, material choosing, design ideas development, technique have developed into finished garments. In terms of expression the contrast between folding and cutting. Work with real leather and fake leather, making use of the material naturally feature to create the form of the garments through folding and cutting technique.
In order to making the contrast between folding and cutting, I am experimental with hand folding till machine steamed folding, cut out the pattern till the part that being cut out pieces. The intension is to create varieties forms from the contrast.
The design is started from the talk between the small portion dummy and myself. Walking into an empty room, create a space that only paper cutting and me. Trying to have a conversation with the little red piece, play with it.It seems like a hint for the real design direction. fig32 papercutting
sketches on small portion dummy
In the beginning I was trying to translate directly from paper sketches till real design (Fig 33),Analysis the reason that it come with two reason, one is the form that made of paper is quite difficult to imitate in other material besides paper. Another reason is the different scales. So the decision of using leather is come up with the challenging of paper cutting crisps.
Analysis the skirt piece in ‘When paper cutting meet fashion’, I realize the form of repeated pleats plays an important role in my whole design
direction.(Fig 34)
In the SS12 collection Transfer, the focus is on the folding part.
Fig 34 pleat piece from “When paper cutting meet fashion”
Fig 35 folding technique experiment
After the first toils, I start to sketch in the small portion dummy. Folded paper pieces, and cut on top of the different folds. Compared with the very raw sketch in “when paper cutting meet fashion”, the sketches are based on the first toils. It is still quite abstract but clearly clarified the relationship with body. For example, Arms or legs go with or without clothes.
It provides me a wide range of possibilities in forms and material to play with. It also brought me a depth thoughts on relationship to body .
When it come to real scale. It is always interesting to experiment with the scales and place differently. In this stage, the material I use the texture as close to paper as possible.
Then I am making clothes according to the toiles in experiments.
The size of the folds are calculated well from toils. The forms and texture are under control quite well. Compared to “When paper cutting meet fashion” ,The challenge in “transfer” is the relationship between clothes and body even though that’s the focus of the project.
Exploring the material is going quite smooth, I decided to use some coated polyester since I am looking for the texture of paper crisp.
When it comes to the adjustment stage, how can I keep the shape form 3D but also keep the wearable function is my main challenge. . It’s not only simply take where to join into consideration, but also how to make the space between body and clothes .It shouldn’t be like some paper sculpture hanging on body nor like folds attached to clothes.
“Transfer ”set up a basis for me to realize the important balance in between body and clothing. Considering scales FIRST is my start point for CUT IT
Too many experiments, too many forms, too many materials failed in translating abstract small-scale sketches into real size.
CUT IT !
The method of sketches was changed into take real fabrics on real scale dummy.
The selected texture range is quite wide. From thin silk organza till coated polyester all applied. The designed cutting methods also are varieties.
Fig42
Fig 44 Experiment with simple cuts change the shape
Fig 46
Discussion
The thinking of cutting.
As paper cutting technique is my project theme that I hope it could spread this old Chinese art over the world. Is it possible to develop the paper cutting’s potential decorative visual language any further in functional cutline Cutting?
“To cut is to think and to see.” Arts, J,(2010). Building up the textile structure by cut out pieces.
Simple cut as a pattern to drape a new form or transfer cuttings in another form.
The act of cut could be functional. To allow arms, legs and neck get through from body or using cut out lines form a new shape. Follow the silhouette of cutting, shadows of cut out shows the idea of artist.
Construction on body
According to acknowledge of Agkathidis, A. & Schillig, G(2010) “Dress allowed the body’s natural sonorous state to be manipulated, suppressed or amplified, while the degree of experimentation in any given period is dictated by the culturally laden and chronologically
specific institution of fashion. ”(Fig 52) Normally clothing is following the shape of body and trying to show body accordingly. Cut it! is more
concentrate on the space between skin and clothes . Cut-outs that
reveal the fresh beneath bring unpredictable areas of the body to attention, teasing and provoking, As soon as the unreal inventions of forms and volumes- that travel boxed and protected like works of art and exhibited in exclusive and surprising settings. According to the French philosopher and phenomenologist Maurice Merleau-Pontythe body is not a static component of space, but instead he believed the body ´le corps propre´ as the expression of an state between subject and object.
Expose of skin
Unconscious expose skin part and the transparency material is not about sexy but about the context
of body and the change of cutting effect on movement . The body silhouette could slightly visible.(Fig 53)
Simplify Aesthetic vs Complicated Aesthetic
Cutting surfaces and structures (fig54), combined folding and Cutting are the categories that present the way of paper cutting visually. (fig 55)
Re-draping through simple cutting category is standing for the simplicity aesthetically. Mixed in different scales of aesthetic simplicity in one collection is trying to make the statement of contrast between those two aesthetical point of view. In the simplify aesthetic part also has variation in layers or draped naturally based on body. I am exploring the differentiation in each garment is trying to make the statement that the great potential of paper cutting could make me realized. (fig 56)
Materials
The selection of material is carried on many discussions in seminars. The range of my selected material is quite wide in terms of softness and stiffness. There are many materials that in my project are not a garment use normally. The importance of the un-regular stiff material in my composition is to challenge how far I could reach in similarity with paper texture in textile form. The softest piece is the transparency organza, it serves as an extreme example of see through layering to show the beauty that created by cutting.
Every piece in CUT IT! is cut by laser cutting machine . The more experiment I did, more interesting I will realized. The stiffness create some certain shape and will effect automatically after cutting in different variations.
Color White, black and red
Limitation
The most significant method for my design is 3D sketching on small dummy. The method works well in visually when I am based on paper or textile texture in small scales. The difficulty is always to bring the small ideas in real scale. Was the method not practical or some steps missing? In my final collection, I corrected the way of sketching; I directly bring real size pattern and making sketches on dummy directly. Another die alma came up to if I use the same cut out pattern in different way of draping I will still lose the draping in the end. In my next project, I will challenge to make video of the design process which helped me to recall the draping. Another way I could try is to make mark on fabric or proto samples.
How it could be more commercialized?
For some of the piece is already applied commercial garment material. The way to make it even more commercial is to cut out the pattern based on a more regular garments pattern .However, if I still keep the way I cut, which can keep the creativeness and interesting in design but produce massive products by manufacture.
Reference:
Book:Arts, J. 2010, Fashion and imagination: about clothes and art, Netherlands. Bauzano, G. 2001, Robert Capucci: timeless creativity, Skira Editore, Milano
D'Alton, M. & Museum of Arts and Design (New York, N.Y.) 2009, Slash: paper under the knife, 5 Continents, New York. Iwamoto, L. 2009, Digital fabrications: architectural and material techniques, Princeton Architectural Press, New York. Petry, M. 2011, The art of not making: the new artist/artisan relationship, Thames & Hudson, London.
Sun, E & Wang, L .2011. "Functional Paper cutting Technique", DunKing Edition.June, Vol, Peking Sparke, P 2012, An Introduction to Design and Culture: 1900 to the Present, Routledge Ltd, GB.
Sentance, B. & Sentance, P. 2009, Craft traditions of the world: locally made, globally inspiring, Thames & Hudson, New York, N.Y. Seymour, S. 2008, Fashionable technology: the intersection of design, fashion, science and technology, Springer, Wien.
