Technical garments by ying gao

Technical garments by ying gao

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  FASHION ORIENTATION ASSIGNMENT 3 YINGGAO SUBMITTED BY: • DIVYA SINGH CHOUHAN • ROMISHA PRIYADARSHINI • SHIVAM SAGAR (F.P.TECH) SUBMITTED TO: ETTISHRI MA’AM
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  ACKNOWLEDGMENT We would liketo express our special thanks of gratitude to our teacher ETTISHRI RAJPUT as well as our CC: Mr. VISHAL GUPTA who gave us the golden opportunity to do this wonderful assignment on YING GAO , which also helped us in doing a lot of Research and we came to know about so many new things we are really thankful to them from the bottom of our heart. Secondly, we would also like to thank our parents and friends who helped us a lot in finalizing this assignment within the limited time frame.
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  CONTENTS • INTRODUCTION • EARLYLIFE • CAREER • INETRACTIVE PROJECTS • OTHER COLLECTIONS • DESIGNER IN THE PRESS • EXHIBITIONS AND SHOWS • CAPSULE-THE MOVIE • BIBLIOGRAPHY
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  INTRODUCTION • YING GAO,Canadian fashion designer who playfully explores the aesthetic potential at the interface on fashion , art and technology. • Inspired by changes in social and urban environment. • Ying gao questions our assumptions about our clothing by combining urban design, architecture and technology. • Use software to conceptually develop indigeneous patterns and study interactive technology in her garments.
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  Early life • Bornin 1973, started studying fashion at a very young age in Geneva , Canada , Montreal and Switzerland. • She has masters degree in multimedia from university of Quebec.
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  CAREER • University professorat graduate school of Montreal fashion and design. • Ying is also a recipient at the Phyllis Lambert design grant. • Her designs sometimes consist of tools sometimes inspiration from the surroundings.
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  INTERACTIVE PROJECTS
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  • MATERIALS Nylon mesh,Nylon thread, PVDF thread, thermoplastic, electronic devices. • Interactive clothing with fingerprint recognition technology, that acknowledges only strangers. • The two robotised garments are connected to a fingerprint recognition system. • They only become animated in the presence of strangers whose fingerprints aren’t recognised by the scanner. → POSSIBLE TOMORROWS
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  • MATERIALS Super organza,cotton mesh, PVDF, electronic devices. • Two dresses, named “Can’t” and “Won’t”, react according to a facial expression recognition system and stop moving as soon as the on-looker begins to emote. • The “Can’t” and “Won’t” dresses push the notion of a false neutrality a bit further by asking the on-looker to maintain a stoic attitude and posture. • The spectator therefore becomes a component of a self-generated ecosystem. NEUTRALITE : CAN`T AND WON`T
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  • MATERIALS Super organza,photoluminescent thread, PVDF, electronic devices. • The project was inspired by the essay entitled "Esthétique de la disparition“ (The aesthetic of disappearance), by Paul Virilio (1979). • The series comprising two dresses, made of photoluminescent thread and imbedded eye tracking technology, activated by spectators' gaze. • A photograph is said to be “spoiled” by blinking eyes. [NO]WHERE , [NOW]HERE
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  [NOW] HERE
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  • MATERIALS Super organzaand electronic devices. • Inspired by director Jacques Tati’s film, Playtime lets the viewer reflect on appearances and the perception of objects in space. • This is an experimental design project. • In the context of a fashion show with sounds and lighting, the possibility for the viewer to photograph or shoot the pieces on video is rendered difficult. PLAYTIME
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  • MATERIALS Leather, superorganza and electronic devices. • Light, shape variations and mimicry meet in Living Pod. • In front of the false twin pieces, the user can slowly set garment A in motion using a light source. Garment B then imitates piece A in an exaggerated and unbalanced fashion. • Using flat-pattern cutting techniques, Ying Gao was able to give the process fluidity and flexibility. • The garment plays a mediating role between man and his environment. LIVING POD
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  • MATERIALS Stiff material,photolumiscent thread and pigment. • The two pieces are suspended on a hanger, the first superimposed over the second. • A proximity sensor connected to the lighting system detects the presence of the spectator. • Spectator enters the room, the lights go on and the first piece is visible, when the spectator leaves, the lights go out and the second piece unseeably shows itself. DEAR PAUL
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  • MATERIALS Cotton, nylonand electronic devices. • These interactive pieces play with the public’s perception: the fluid movement of breathing is simulated using sensors and a pneumatic mechanism that’s sown directly onto nylon and cotton. • The pleated fabric in the Walking City pieces take numerous shapes, much like Japanese origami. • Light, immaterial, changing and poetic, this concept of inflatable pieces gives life to the garments. WALKING CITY
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  • MATERIALS Super organza,silk and electronic devices. • The two dresses is envisioned in collaboration with Artistic Director and the Choreographer William Yong from company Zata Omm. • The first dress is equipped with a miniature camera capturing an image which is then projected on a bigger screen in real time. • The second dress, more discreet in its appearance and movement, is only equipped with motion detection sensors. THE SHOW STILL GOES ON
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  OTHER COLLECTIONS
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  • 11 garments,8 accessories. • Medical-grade latex, medicated cotton, pins. • Inspired by “Science Is Fiction: 23 Films” by Jean Painlevé. • The capsule collection was created in a hospital waiting room. • This records amusing and surrealist moments in a hospital’s daily life, spanning a period of two months. SCIENCE IS FICTION
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  Facebook as apop up book • Inspired more from the form and the aesthetics of a book than its literary aspect. • She reshapes Facebook into a pop-up skirt. • Casts a critical and amused look on social networks and on the various interactions they (re)create.
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  • Statistics andsocial criticism meet in the style variation project Indice de l’indifference. • The entire pattern was altered by the compiled data including the angle of the collar, the length of the pocket and the depth of the folds. • Ying Gao’s shirts reflect society’s indifference to a wide array of cultural, political and social issues. INDICE DE I`INDIFFERENCE
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  UNIFORMS • Ying Gaowanted to prove the statement “Speed kills creativity” wrong. • She first randomly selected two images of uniform on google and then altered them using a graphic editing program to create five new pieces within 5 seconds. • The two original images featured a nurse from the United States in the 1920s and a German female worker in the 1940s.
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  POST VERNISSAGE • ThePost-Vernissage collections were created with the clear goal of presenting slow wear as an alternative to the fast-paced production cycle of contemporary fashion. • Slow wear is a current trend that’s appeared in response to the abundant products and images created by the fashion industry: its promoters think we should own less, but better-designed pieces.
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  BERLIN NAGOYA • Thiscollection features two pieces inspired by today’s accelerated mobility of people and information. • A scarf and a dress have a second function as, respectively, a dress and a screen / bag. • Two cities Berlin and Nagoya, both of which have also seen a major alteration of their urban environment, is theme taken up by Ying Gao’s work.
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  Glass hand bag •Ying Gao and glass artist Michèle Lapointe have innovated to carry a 10g shirt in a 10 kg bag. • This is a glass object with a rounded contour, in which they have inserted a shirt made of super organza. • This transparent piece of work reflects on the nature of accessories and their content, while being an aesthetic and formal exploration of glass and textile.
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  DESIGNER IN THEPRESS
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  EXHIBITIONS AND SHOWS •2017. Ambiguous Scenery. National Taiwan Museum of Fine Arts, Taiwan. • 2017. Fashion Look Forward. Gaîté Lyrique, Paris, France. • 2016. Fiction et Science. Joyce Gallery. Palais Royal. Paris, France. • 2016. Style + Technology. Museum of Fine Arts, Boston, USA. • 2015. The Future of Fashion is Now. Contemporary Art Terminal, Shanghai, China.
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  • Filmed onthe island of Hydra, Greece, the short is an haute couture-clad coming-of-age fantasy about a matriarchic dominatrix and her female disciples that tells the story of a flock of porcelain-skinned young girls trapped within an 18th century Cycladic mansion and the rituals they perform as a rite of passage to becoming women. CAPSULE “THE MOVIE”
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  • The DesteFashionCollection2012 curated by Athina Rachel Tsangari is the central feature of the film. • The film also makes dramatic use of clothing that responds to the environment , temperature of the body. • Such as the ethereal light sensitive dress by Ying Gao.
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  BIBLIOGRAPHY • yinggao.ca/ • THETIMES OF INDIA • www.coolhunting.com/style/fashion-x-technology-ying-gao •Thefashionpropellent.com