MA Project Proposal

An exploration into awareness of deconstruction and reconstruction.

Think outside the box through the unisex and colour to reconstruct the body, the mind, the feeling of colour and build a new concept of self-awareness and self-worth.

PROJECT PROPOSAL OPOS Nottingham Trent University Yun Wei Tseng (Vivi) N0779246 MA Fashion Design Supervisor | Maria Stafford Project Proposal 2018-2019

CONTENT Introduction

1-3

Inspiration

4-5

Methodology Market Research

6 7-8

Aims and Objectives

9-10

Research Questions

11

Resources

12

Timetable

13-14

References

15-16

Bibliography

17-18

INTRODUCTION

F

ollowing the development of

journalism and technology, the behaviour that thinking by subjective consciousness is lacking in modern people. In the era of information explo-

sion, it is easy for people to believe a lot of information instead of thinking according to their own self-consciousness. The more speed, trends, reality, and efficiency people pursue, the more self-awareness and subjective consciousness they lose. In order to wake up peopleĘźs self-awareness and build up their own self-worth, the key points of my research focus on saturated colour and unisex.

FIGURE1

1

INTRODUCTION Colour

Personal experience shows that colour has an important influence on peopleʼs minds, activities and emotions. According to Bleicher (2012), colours have a physiological effect on our bodies and well-being. Not only the application of colour is reflected on peopleʼs daily life all the time, but also entertainment, different eras and different ideologies, etc. There are various colours that affect people's psychology and emotions. It depends on the feeling that colour gives to people. As artists who belong to Post-Impressionism and Fauvism, they often used colour to express the ideas and subjective emotions they want to convey, because diverse colours can give them different feelings than others. There is no rule to show that the same colour must give people the same feeling and emotion. Jacobs (1923) considered that “This symbolism is based on our early association of these colours with the qualities which they are supposed to convey, but so far I have been unable to find any basis of scientific fact which would justify any theory of physical or mental reaction to the wavelengths of light which we know as these colours.”

Psychologists believe that the first feeling of human beings is the vision, while the one that has the greatest impact on vision is colour. To catch consumerʼs eyes is the first aim in packaging.

There are only 0.03 seconds that customers scan every package on a supermarket shelf indicated by a research. Hence, in order to attract the consumer to buy the product and convey the contents by image, the colour should be helpful (Zelanski and Pat Fisher, 1999).

FIGURE2

2

INTRODUCTION Unisex

Unisex is like an issue of who you are and who you want to be. To most of us, our traditional impression of pink colour is for girls and blue colour is for boys.

The work of Paoletti (2012) concluded whether used traditionally, humorously, or ironically, pink is still a symbol of femininity and likely to remain so for some time.

People in the world are usually restricted by the distinct appearance, for some people, garment just like a reflection of who you are. Some of them are not brave enough to be themselves and to wear what they want to wear because of the judgments of society. Regardless of gender perception, people who think they are genderqueer or any male and female, if they look at another genderĘźs garment, they often give up because of the size difference or the unfriendly vision of others. Many of our gender stereotypes are superficial, arbitrary, and subject to change (Paoletti, 2015).

Unisex can change the norm and makes people feel free to be themselves. It is not necessary to follow the gender, the tradition, and the rules. Not everyone follows the fashion trends; in reality, many people are still perfectly aware of the trends while they actively resist it (Paoletti, 2012). You are aware of who you are, who you want to be, thus, people should follow their inner mind and be themselves.

My overall research purpose is to deconstruct the original thinking, traditional impression and blind pursuit of everything in order to reconstruct a new perspective of yourself.

FIGURE3

FIGURE4

FIGURE5

3

INSPIRATION The Inspiration of Post-Impressionism and Fauvism In this fast-developing world of technology, people pursue speed, efficiency, reality, and everything follows the newest trend. Just like the growth of the mobile phone camera, when you explore a beautiful place or go to a popular restaurant, the first thing is taking pictures of the scene or food instead of enjoying it by your sensory organs. People need to think about whether the criteria of beauty is in our camera or in our heart? What is your true feeling from your heart and not just follow the outer material world? The reason that Post-Impressionism and Fauvism inspire me is that at that time, Impressionism was the main trend of art, the aim of Impressionism was depicting reality. However, the artists who belong to Post-Impressionism and Fauvism, such as Vincent Van Gogh, Paul Gauguin, Henri Matisse, etc., they paint the beauty in their mind and their feelings rather than follow the trend of Impressionism. They had their own philosophy and style, emphasizing the subjective emotion, spiritual truths, and self-feeling. Colour and the expression of the emotion are more important than representing the objective world.

The Inspiration of Deconstruction The Snail 1953, Henri MatisseĘźs paper cut-outs as my inspiration for garment shape. Deconstruct his work of shape and reconstruct it on the body. To break the diverse silhouettes and lines, and put it on other places to make the kaleidoscopic effect. Wolfe (2017) illustrated that "Deconstruction is a concept that goes back to architecture," said Kaat Debo, director of Antwerp's Mode Museum. " It means taking apart something existing, the building blocks -- of a building or a garment -- and then reshuffling the parts and making something new out of it".

FIGURE6 Henri Matisse The Snail 1953

FIGURE7 Paul Gauguin The Day of the God 1894

4

INSPIRATION Colour Inspiration

I have been highly intrigued by the colour of these two art movements. In the last hundred years, the tradition of western painting focused on the shape and silhouette rather than the colour. The most significant is the main outline and shape, colour is just the foil, and the usage of colour follows the original object colour. In contrast, Quiller (1989) pointed out that “Post-Impressionism emphasized the emotional and spiritual painting approach. Their intense use of colour and spontaneous paint application would lead to the early-twentieth-century fauvism movement.� Post-Impressionism and Fauvism did not follow the trend of before. Instead, they use the colour utterly saturated and vivid. Because the artists thought that the bold utilization of contrast, wild and vibrant colours can express their subjective mood.

An artist might paint an object- for example, a tree- any colour he wanted. And by making the tree blue or red or violet, force the viewer to stop and rethink just exactly what a tree is and what its true meaning may be. Furthermore, it gave the object a power and intensity it would not normally have (Bleicher, 2012). Thus, what colour artists think the object is, they paint the object by using this colour. They adopted the more bold and wild approach to paint and did not paint the object with the natural object colour, breaking the colour limitation of the object. - this is a key component that shapes my project.

"Feeling expressed before thought." said by Gauguin, the concept he wants to convey is that using colours can reflect the mysteries that responses to life by our inner mind, not just only depict nature. (Gauguin, 1959, see Zelanski and Pat Fisher, 1999, P.143). Just like people, depending on their personal experiences, there are diverse feelings on one colour. One person might think red is the colour that makes him feel enthusiastic. However, another person might think that is the dangerous sign. We can find that the meaning, the feeling and the emotion that colours give depends on the individual.

Whatever how you feel about colour, this collection wants to give you the feeling that you can express on your own. To develop self-awareness, helping fashion lovers to explore their self-worth and express their subjective feeling freely.

FIGURE8

5

METHODOLOGY Research To achieve my goal, expand more knowledge and idea, I will develop the research I have already done so far and continue to visit different museums, galleries, and exhibitions which related to my work. I will use the articles, journals, magazines and book resources in the library and I will also look at some websites that benefit my project as well.

Techniques To experiment with different techniques, such as screen print, digital printing and embroidery on the fabric via the workshop or individual practice.

My project is related to the art movement- Post-Impressionism and Fauvism, I will also use paint with acrylic pigment to try thick brush strokes effect as well.

I am going to use Illustrator and Photoshop to design my own pattern and use it on techniques above.

Design I will use the method that Robbinʼs workshop has taught us to develop my initial garment silhouette and make more details. I am going to develop various shapes of my design and select which one is close to my idea to finish my collection. I will have 6 collections and I desire to produce 2-3 finished outfits and make a lookbook of my final collection.

I will try different pattern cuttings and structures by investigating the shapes of Henri Matisseʼs paper cut-outs. After realizing the basis of variety, using paper to make 3D effects first and finish toile with calico.

Recommend list of books: • Kershaw, G. (2013) Pattern Cutting for Menswear, London: Laurence King Publishing • Nakamichi, T. (2010) Pattern Magic, London: Laurence King Publishing • Nakamichi, T. (2011) Pattern Magic2, London: Laurence King Publishing • Nakamichi, T. (2016) Pattern Magic3, London: Laurence King Publishing

6

MARKET RESEARCH Emilio Pucci, KENZO, Angel Chen, Bimbay Lola, Richard Malone, and JW Anderson are my competition brands.

The similar style they have are full of vibrant energy, colour and expressive.

Through understanding their philosophy, brand identity, target customer and price range, I set up my own market position.

My market level aims at bridge brands and focuses on giving a high-quality product at an affordable price.

The goal of the brand is to become a sustainable label. The ideal is by lending most of the garment instead of selling them in order to avoid waste. Because of fast fashion is the main trend nowadays, people intend to follow the newest fashion and many garments are only worn a few times. It has been argued (Birtwhistle & Moore, 2007) that fast fashion garments are expected to be worn fewer than 10 times. There is a concern about the environment because of throwaway culture exists in many industries. Siegle (2018) discussed that in the UK, an estimated £30bn of clothes hang unworn in bulging wardrobes. The case for sharing just got real: last week Armarium, the US luxury fashion-hire company, joined forces with Browns, the upmarket clothier, to take hiring and sharing up a notch. At the moment, this is a rarefied rental service for people who could comfortably afford to buy from upmarket designers outright. But itʼs just the beginning. Renting a garment not only can fulfill the desire that wearing the newest clothing but also reduce the harm to the environment. Clothing rental has the potential to reduce waste and extend the lifespan of garments, but to achieve a more sustainable industry a systemic change in business practice and consumer behaviour is needed (Braithwaite, 2018).

The collection is for the consumer who wants to explore self-awareness, express their emotion freely and challenge the new different styles. The pink colour is for girls and the blue colour is for boys, this is our traditional impression.

So this collection is also for the people who don't want to be restricted by the gender binary or garment to represent who they are, they just want to be themselves.

Rad Hourani, the fashion designer of unisex label stated (2015)“I didnʼt understand who decided that a man should be dressed differently than a woman and all of these other limitations that we have in life like our age, gender, religion, nation, or any other boundaries that divide people from each other.”

Many of the unisex collections are in black and white or that are not so bold and saturated. To many people, black and white are safe colours and more suitable for everyone.

So based on gender-neutral basics ideal, I want to use the vivid and bold colours to create a different unisex collection.

You are not restricted by the gender roles of garments or colour to represent which gender you are and who you are. You can be a different you—every day.

7

MARKET RESEARCH • Target Customer: The target customer is not defined by age and gender.

• Market category: Unisex • Style: Colourful, gender neutral, emotional, expressive, independent, energetic and confident.

• Price Range: £100-£600

FIGURE9

FIGURE10

8

AIMS AND OBJECTIVES Aim1- Inspiration To develop inspiration.

Objectives: • Develop my initial inspiration and delve into more designers or artists that connect with my idea and refine it.

• To create a website for recording my inspiration, my works, and my design process or even my progress.

Aim2- Colour To investigate colour.

Objectives: • Research about colour theory, colour meaning via books, articles, and journals, etc.

• Find out the reason why colour affects how people feel.

• Investigate how colour was used in the art movements.

• Give examples of which fashion designers often use colourful hues to present their collection.

Aim3- Techniques/ Pattern Cutting Experiment with different techniques and pattern cuttings on the garments.

Objectives: • Through screen print, digital printing, and embroidery to differentiate distinct methods to express my design.

• Try various pattern cuttings and the structure of deconstructions.

• Investigate different effects on different fabrics that could filter which effect is more close to my idea.

9

AIMS AND OBJECTIVES Aim4- Unisex collection To create a collection of garments that both men and women can wear.

Objectives: • To analyse the typical prototype of men and women.

• To research how the garment can suit both genders.

• Select and do research about which fashion brand makes the collection that is for both genders.

• Investigate why people want to wear unisex garments.

Aim5- Market Evaluate the current and future market and the target customer.

Objectives: • Plan about which level of fashion brands I want to achieve. Set the competition brands.

• Visit different fashion stores. Observe their sewing details, pattern cutting, the usage of colour, and philosophy.

Aim6- Pattern/ Visual effect In order to develop the pattern that I design, I need to expand my CAD software ability.

Objectives: • Follow the books or the websites to learn how to perform different visual effects by using CAD software.

• Practice various skills of CAD software twice a week.

• Attend the CAD workshops.

10

RESEARCH QUESTIONS InspirationWhich style and philosophy of fashion brands are similar with mine?

Which fashion brands or designers usually use a lot of colours?

How your concept link to the art movements?

ColourWhat is the definition of colours?

How can colour give people different feelings or create different moods?

How can colour affect peopleĘźs emotion?

What area of colour do you want to investigate?

How art movements (Post-Impressionism and Fauvism) use colour?

How you decide you colour palette?

TechniqueHow can I use embroidery and digital printing to represent my design and translate into my inspiration of art movements?

CollectionsHow can I make the collection that men and women all can wear together?

Why people want to wear the unisex garment?

How can I make my collection new?

MarketWho is my target customer?

Which brand is your competitive brand?

Why the target customer will buy your collection?

11

RESOURCES Books, Journals, Articles, and Websites: NTU Library, Electronic Resource | colour, unisex and pattern cutting Screen Print: NTU screen print

Digital Print: Contrado UK Digital printing Museums (Tate Modern-Henri Matisse paper cut outs, Tate Britain- Vincent Van Gogh, The national gallery- Vincent Van Gogh and Paul Gauguin) CAD (Photoshop, Illustrator)

12

TIMETABLE Module1 (September 2018 - December 2018) Do Research Widely • Visit different museums, exhibitions, and galleries to explore various inspirations.

1.

V&A Museum- Fashioned from Nature: 13th Oct 2018 2.

London study trip- Tate Modern Museum- artworks of Henri Matisseʼs paper cut outs, The Snails: 14th Nov 2018 • Use the resources in the library efficiently • Reflective Journal • Mood Board/ Workspace in studio • Initial visual research • Initial market research • Develop idea of project proposal • Through different techniques to try various effects, take part in different workshops such as screen print, digital print, and embroidery.

Crucial Dates • Project Proposal Draft / Visual Presentation of work 16th Nov 2018

Module2 (January 2019 – April 2019) Continue to Do Research and Begin to Make Toiles and Find Potential Fabric • Visit more exhibitions 1.

Paris and Antwerp Trip- Paris MUSÉE DES ARTS DÉCORATIFS: 10th- 16th Feb 2019 2.

Tate Britain-The EY Exhibition Van Gogh and Britain: 27th Mar – 11th Aug 2019 3.

The National Gallery- Vincent Van Gogh/Paul Gauguin: Feb 2019 • Continue to keep exploring diverse techniques, such as digital printing • Design various printed patterns • Find potential fabric through going to London and Birmingham • Make various toiles chosen from garment silhouette designs and to develop it- focus on first outfit • Doing market research deeply- Set up my target customer and competitive brand.

• Recording all of my works, process, and progress in order to prepare portfolio efficiently Crucial Dates • Project Proposal / Coursework 2D & 3D / Visual Presentation of work – Dropbox required submissions 3rd Feb 2019 by 23.59pm Student Self-evaluation 4th Feb 2019 by 09.00am • Formal Formative Assessment 8th Feb 16:00-16:10 2019 • Formal Formative Assessment 8th Feb 16:00-16:10 2019

13

TIMETABLE Module3 (April 2019 – July 2019) Make the Final Collection and Employment Preparation • Exhibition 1.

New Walk Museum and Art Gallery: 17th Apr 2019 2.

Brighton Museum and Art Gallery: Queer Looks: 21st Apr 2019 3.

Christian Dior- Designer of Dreams: 27th May 2019 • Print final fabric • Decide final 6 outfits for collection • Finish the second outfit of sample and make two outfits in final fabrics • Prepare portfolio and CV for employment, internship or placement. (both Taiwan and UK) • Make business card, postcard, and lookbook • Preparing for New Designer Crucial Dates • Project Proposal / Coursework 2D & 3D / Visual Presentation of work – Dropbox required submissions 14th Apr 2019 by 23.59pm Coursework submission 15th Apr 2019 by 09.00am • Final Presentation Project Proposal / All Coursework – Final Presentation slides 7th Jul 2019 by 23.59pm Coursework final submission 8th Jul 2019 by 09.00am

14

REFERENCES LIST OF ILLUSTRATION • FIGURE1 : Unisex bikini thongs, 1974. Image courtesy of Bettmann/Corbis https://www.kidsofdada.com/blogs/magazine/18393657-from-unisex-to-anti-fashion • FIGURE2 : Own painting • FIGURE3 : Pinterest https://www.pinterest.com/pin/542191242626911444/ • FIGURE4 : Book Sex and Unisex: Fashion, Feminism, and the Sexual Revolution • FIGURE5 : Pinterest https://www.pinterest.com/pin/514325219914782357/ • FIGURE6 : Tate Modern Exhibition, own photograph

• FIGURE7 : Art Institute Chicago https://www.artic.edu/artworks/27943/mahana-no-atua-day-of-the-god • FIGURE8 : Own painting • FIGURE9 : KENZOʼs website/ Instagram https://www.kenzo.com/eu/en/home https://www.instagram.com/Kenzo/ • FIGURE10 : Website https://meco6936.wordpress.com/2016/03/17/angel-chen-social-media-design-brief/

15

REFERENCES Anonymous 2018, Feb 13. UNISEX FASHION BRAND LAUNCHES NEW CLOTHING LINE. M2 Presswire.

Birtwhistle, G., & Moore, C. M., 2007. Fashion clothing: Where does it all end up? International Journal of Retail and Distribution Management, 35 (3), 210–216.

Braithwaite, N., 2018. IS CLOTHING RENTAL THE SECRET TO MAKING FASHION SUSTAINABLE? The Independent [online], 19 August. Available at: https://www.independent.co.uk/life-style/fashion/fast-fashion-waste-sustainable-climate-change-pollution-circular-economy-clothing-rental-a8490251. html [Accessed 21 June 2018].

Bleicher, S., 2012. Contemporary color: theory & use. 2nd ed. Clifton Park, NY: Delmar, Cengage Learning.

Henri Matisse: The Snail 1953 (2016) [exhibition]. Tate Modern Art Gallery, London.

Jacobs, M., 1923. The art of colour. New York: Doubleday, Page.

Paoletti, J., 2012. Pink and blue: telling the boys from the girls in America. Bloomington: Indiana University Press.

Paoletti, J., 2015. Sex and Unisex: Fashion, Feminism, and the Sexual Revolution. Indiana University Press. Retrieved from http://www.jstor.org/stable/j.ctt16gz67d Paul Gauguin, 1885 letter quoted in Rene Huyghe, Gauguin, New York: Crown Publishers, Inc., 1959, p. 39.

Quiller, S., 1989. Color choices. New York: Watson-Guptill ; Garsington : Windsor distributor.

Siegle, L., 2018. Ten ways to make fashion greener. The Guardian [online], 24 Jun. Available at: https://www.theguardian.com/fashion/2018/jun/24/ten-ways-to-make-fashion-greener [Accessed 28 May 2019].

Wolfe, N., 2017, Feb 04. OFF DUTY --- Style & Fashion: Undone and Done --- Deconstruction ripped through spring shows; Here, how to wear it and look put-together. Wall Street Journal.

ISSN 00999660.

Wright, A., 1998. The beginner's guide to colour psychology. London: Colour Affects.

Zelanski, P. and Pat Fisher, M., 1999. COLOUR. 3rd ed. London: Herbert Press.

16

BIBLIOGRAPHY Agoston, G.A., 1979. Colour theory and its application in art and design. Berlin: Springer-Verlag.

Anonymous2018, Feb 13. UNISEX FASHION BRAND LAUNCHES NEW CLOTHING LINE. M2 Presswire.

Birtwhistle, G., & Moore, C. M., 2007. Fashion clothing: Where does it all end up? International Journal of Retail and Distribution Management, 35 (3), 210–216.

Braithwaite, N., 2018. IS CLOTHING RENTAL THE SECRET TO MAKING FASHION SUSTAINABLE? The Independent [online], 19 August. Available at: https://www.independent.c o . u k / l i f e - s t y l e / f a s h i o n / f a s t - f a s h ion-waste-sustainable-climate-change-pollution-circular-economy-clothing-rental-a8490 251.html [Accessed 21 June 2018].

Bleicher, S., 2012. Contemporary color : theory & use. 2nd ed. Clifton Park, NY : Delmar, Cengage Learning.

Dael, N., et al. 2016 ‘Put on that colour, it fits your emotion: Colour appropriateness as a function of expressed emotionʼ, Quarterly Journal of Experimental Psychology, 69(8), pp.

1619–1630.

Henri Matisse: The Snail 1953 (2016) [exhibition]. Tate Modern Art Gallery, London.

Hyodo, J., 2011. Can Colors Make Me Happy? The Effect Of Color On Mood: A Meta-Analysis.

Advances in Consumer Research. 39: pp. 858–867.

Jacobs, M., 1923. The art of colour. New York: Doubleday, Page.

Paoletti, J., 2012. Pink and blue: telling the boys from the girls in America. Bloomington: Indiana University Press.

Paoletti, J., 2015. Sex and Unisex: Fashion, Feminism, and the Sexual Revolution. Indiana University Press. Retrieved from http://www.jstor.org/stable/j.ctt16gz67d Paul Gauguin, 1885 letter quoted in Rene Huyghe, Gauguin, New York: Crown Publishers, Inc., 1959, p. 39.

Quiller, S., 1989. Color choices. New York: Watson-Guptill ; Garsington : Windsor distributor.

Siegle, L., 2018. Ten ways to make fashion greener. The Guardian [online], 24 Jun. Available at: https://www.theguardian.com/fashion/2018/jun/24/ten-ways-to-make-fashion-greener [Accessed 28 May 2019].

Terwogt, M.M. and HOEKSMA, J.B., 1995. Colors and Emotions: Preferences and Combinations. Journal of General Psychology, 122(1), pp. 5.

Valdez, P., and MEHRABIAN, A., 1994. Effects of Color on Emotions. Journal of experimental psychology, 123(4), pp. 394.

17

BIBLIOGRAPHY Wolfe, N., 2017, Feb 04. OFF DUTY --- Style & Fashion: Undone and Done --- Deconstruction ripped through spring shows; Here, how to wear it and look put-together. Wall Street Journal. ISSN 00999660.

Wright, A., 1998. The beginner's guide to colour psychology. London: Colour Affects.

Zelanski, P. and Pat Fisher, M., 1999. COLOUR. 3rd ed. London: Herbert Press.

18

Thank You