FASHION DESIGN

I have always believed that fashion design, in addition to being treated as commodity, should also be a composite artwork. It is not a form that is concealed from the remainder of the world, but something that inhabits the skin, something that we touch directly, something that pervades through our life. Clothing is also an industrial product aimed at humans. It was created to change humans’ life.
Such affinity allows fashion design to all the more straightforwardly enlighten us. In mythology it is also a symbol of man's self-awareness, and of civilization. In my work, I lay much emphasis on the combination of costume pieces and social trends. They are like a web of possibilities that expand in time and space for the viewers to fall into.

"I think human consciousness is a tragic mistake in evolution. We know too much about ourselves, and nature takes a part from itself and turns into nature. From the laws of nature, we are creatures that should not exist. We are enslaved by the illusion that we have an ego, a combination of sensory experiences and sensations programmed to believe that each of us is someone when, in fact, none of us are.”

In the future, I believe human will eventually return to nature.  In the future, the earth will be desertification, which will create some problems such as a water crisis, food shortage, population mobility and so on. So I constructed a series of bionic garments and decorations, find that most animals in desert use some tricks to help them survive in these extreme environments.



The gap between desert mammals and humans is reflected in the difference in body language. For example, running and walking on four legs can make them move more freely in the desert. I compared the difference between the two, human muscles and leopard muscles.
I imported the anchor point into Rhino, calculated the difference center point, and used Grasshopper to simulate the force on the muscle surface to make movement.The natural drape effect and draping results through using different sizes of muscle surface cloth to produce different fixed points.




In the color and print of the works, I refer to the natural color matching.
In order not to be found by predators, lizards need to blend into the complex terrain of desert areas, so I chose their body spines and rings, dot patterns and color matching, so as to better match the colors of the environment.



I find that sandgrouse is a bird whose feathers can store water.They wiggle their abdomens to make their feathers stick to water. So I incorporate flexible parts into the garment to simulate the water storage and transportation processes of feathers.
I made a body device, independently sketched it, and finally 3D printed it, and tweaked it many times. I hope it can move flexibly on the human body and assist clothing to play its function.



Through these unique constructions of life, I wanted to make people aware of the power of nature, and to awaken our respect for it.
Of course, I also want to provide a design possibility for future human beings facing environmental changes.

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"The prolonged wear of eyewear by individuals of Asian descent may cause slipping and discomfort in the eye socket, leading to a modification of this project to change the support points and fixed positions of the glasses. The design incorporates the natural curves of flowers and shells, using translucent colors and gentle acetate materials, as well as traditional Asian craft techniques and mother-of-pearl decorations. The production will involve the use of CNC technology and 3D modeling for printing.”


The inspiration for this project originated from observing a close friend with high myopia, who often struggles with discomfort from her flat nose, leading her to repeatedly adjust her glasses, which frequently slip off. This observation prompted a thorough reassessment of traditional eyewear design, with a focus on improving stability and comfort for the wearer. This observation prompted a thorough reassessment of traditional eyewear design, with a focus on improving stability and comfort for the wearer.

Research reveals that myopia prevalence is significantly higher in Asian countries (Luong, 2020). Genetic factors contribute to unique East Asian facial features, such as flat cheeks and a low nose bridge, exacerbating issues of glasses slipping (Zhang, 2022). This leads to a common problem among Asian individuals. when wearing glasses, they frequently experience issues are glasses slipping.However, it cannot be denied that eyeglasses have become an indispensable part of our world. They are a symbol of civilization advancement.
In the artwork "Dragon and Figure" by an unidentified artist, the rough strokes used to depict the spectacles help to distinguish the central figure as uniquely human. In this context, the glasses represent not only personal identity but also the creativity of an invention that embodies our desire to overcome the limitations of our bodies.

And the foundation established by this civilization is the natural line. Our skulls still display the wonders of the Creator. So I hope to redesign the form of glasses to make it more organic. And the foundation established by this civilization is the natural line. Our skulls still display the wonders of the Creator.
The organic forms of flowers and butterflies served as primary inspirations for the curved designs, aiming to achieve a harmonious balance when integrated with human facial features. Multiple iterations and refinements were conducted to perfect the details.





Given my preference for a more traditional approach to eyewear production rather than 3D printing, the process presented significant challenges.

Acetate material, being limited to CNC carving, required meticulous attention to numerous craftsmanship details. Additionally, unlike most commercially available glasses, I aimed for undulating surfaces on the glasses, prompting initial 3D modeling followed by multiple iterations upon confirming the precise details of the cutting tool. Moreover, adjustments were made repeatedly at various points of connection to ensure smooth articulation and a proper fit for diverse head shapes.
The curves and connectors of the glasses were entirely handcrafted, including meticulous polishing of the entire eyew
The finished product features two types of translucent acetate, adorned with mother-of-pearl decorations. Three adjustable metal connectors enhance versatility, while the unique silhouette and fluid lines maintain the artist's distinctive style.

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"Foucault's Panopticon articulates a theoretical framework of power and surveillance, wherein individuals are subjected to a state of conscious and permanent visibility, effectively regulating their behaviour through perceived omnipresent observation. Building upon this foundational concept, American scholar Mark Poster explores how the advent of the internet and the proliferation of databases have further complicated power dynamics in a postmodern context, effectively blurring the lines between private and public spheres and giving rise to what he terms the "Super Panopticon."

In a similar vein, contemporary anxieties surrounding artificial intelligence (AI) mirror these concerns, as many individuals perceive AI as an invasive force that penetrates their personal lives and surveils their activities, much like the mechanisms of big data. However, it is imperative to recognize that we possess the agency to influence the architects of this Super Panopticon，because we are the agency.

In work, "The Viewer Society: Michel Foucault's 'Panopticon' Revisited" (1997), Mathiesen introduces the concept of the Synopticon, or the "surveillance of the few by the many," suggesting a reciprocal dynamic in which power is not solely concentrated in the hands of the few but is subject to scrutiny by the collective. The internet and databases, while formidable tools of surveillance, are not self-sustaining entities; they necessitate substantial human experience and engagement.

As sentient beings, our innate spontaneity and complexity are not easily comprehended by AI, which processes information and perceives the world through fundamentally different paradigms. This underscores the unique position of humans to critically engage with and potentially reshape the mechanisms of digital surveillance.”



Some analyses revealed that public discussions are influenced by user occupation and the specific generative AI tools being discussed.
As part of my research, I conducted surveys and analysis to understand public perceptions of AI. 
The data collected from questionnaires revealed that a significant portion of respondents expressed concerns about AI's role in their lives, particularly regarding privacy and surveillance.
Additionally, I investigated various vulnerabilities within AI systems and explored how these systems learn.



Based on the characteristics of AI image recognition, I designed a series of experiments to test its features and limitations.



I identified that AI systems often struggle to discern changes that are highly dependent on environmental lighting conditions. Additionally, these systems can become more confused when provided with more information rather than less.
Based on these findings, I decided to focus my research on treating human shadows and human figures as a single entity.




What if we think in terms of AI to blur the graphical boundaries of the human being, to inductively define the hidden, the marginalized, the substance that strays from the human body as the new human being?
Combining the insights from artists' works, I propose to create a new sculpture by integrating AI with shadow-generated human forms. This synthesis aims to produce a sculpture that reflects the dynamic and evolving nature of human identity in the digital era.



I created an installation featuring sound and augmented reality (AR) virtual effects. I also developed a 3D model for it, allowing AI to visualize music programming through the virtual model, enriching the installation's form. Additionally, the installation does not have a fixed shape; it is composed of various interchangeable panels.
Integrate AI-generated shadows and dynamic forms, and create a new composite human figure.
And the image leverages AI to generate new human forms based on shadow effects.
I make some to build silhouettes.


Afterwards, I produced the garments and conducted multiple rounds of testing, fitting and adjustments.

Then, I integrated the shadow and highlight patterns resulting from human-device interactions into a cohesive image. Different body parts, such as 'legs and feet' and 'hands and arms,' were categorized and layered together to form a new composite human figure. This approach visualizes the complex interplay between technology and the human body.
The images resulting from human interactions with digital devices and the environment are deconstructed through light and shadow.
I transformed the AI-generated patterns into some new designs.
After that, I utilized double-layered lenticular materials to create dynamic, moving prints. The use of lenticular materials allows for visual effects that change with the viewer's perspective.
I believe that the integration of humans and AI is epoch-making.







 

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Scooping Moonlight Shadow in Hand is to hold the water with both hands. Amid the sparkling waves, the moonlight shimmers. The moon in the water is illusory, while that in the sky is real; but seen by the eyes, the moon in the hands and in the sky are both clear beauty on earth. The soul of the moon is the same, no need to lament. We are also the same. Facing the cycle like the moon, we could not tell the difference between the real and the imaginary.

When faced with the loss of a loved one or friend, we are painful, confused, blaming ourselves and feeling guilty that we did not show our love properly when the other person was alive. Maybe it doesn't need to be so sad. When the other person goes to another world, we can't see them, just like we can't have the real moon. But just like the moon in water, they remain with us, perhaps transformed into spiritual bodies, guarding us. I wanted to combine the occult with some psychological perspectives and brain science to make a series of clothes that convey a kind of zenology centering around the moon in water .
And we struggle and search between the unreal and the real, we are establishing a foundation precisely to grow in the real world.





Nowadays, after the initial shock of losing a loved one you may struggle when thinking of future experiences that those people will not be there to share or see. Bereavement is tough. 
American professor Barbara Aulicino found mind-body dualism may be inherent in life, like an intuition. So I consider that the dualism of body-soul can make the concept of "guardian spirit" better accepted and help people who have lost family members and friends to get through their sad moments.

I thought of a line from an ancient Chinese poem of Neo-Confucianism, ‘Scooping Moonlight Shadow in Hand’. Since ancient times, the Chinese people have had a special affection for the moon. People look at the moon to send their thoughts to their family members and friends.The moon symbolizes separation and reunion. It is like people's moods that change from one day to the next. I take the bright moon in the sky, the shadow of the moon in the water, the moon spirit of the heart to compare to the deceased, the spirit body  and our  thoughts.




I believe that the heavenly moon, the water moon and the moon in the heart are in a symmetrical opposite state. Like Yin and Yang in Tai Chi, which are opposite. Tai Chi is the embodiment of the core ideology of Taoism, a native Chinese religion, and the transformation from imagination into reality is also a concept I want to integrate in the costume. So I will develop the fashion design according to the rituals of Taoist practices.

After visiting Taoist temples, I used an optical experiment to bring out the spiritual power of different mudras when performing the ritual and used Schlieren imaging to make invisible flow elements visible.




The Taoist priests use the methods of talisman, seal, astral, and mudra to summon the spirits of the dead to earth, and I chose mudra as the object of study. I follow the method of schlieren imaging to demonstrate the mudra. Two people's hands changed like two spirits communicating, and I used them on a Taoist robe cut in the ancient method.







This inspired me to use ritual objects as the material of biological fabric, which not only corresponds to the Taoist concept ‘Life and death come and go with the flow’, but also add the clothes with the meaning of communicating with the soul and sending thoughts. The material is environmentally friendly and edible, and the dye is naturally derived from plants. The material can be melted in hot water and then recreated, and the cycle repeats itself.




The concept of life after death, or more specifically conscious awareness after bodily death, is generally referred to in the context of the 'soul'．
Life, at its core, may be a quantum process. When the The physical body dies, quantum information relating to the subject's conscious experience and memory isn't  lost or destroyed, but may dissipate to the universe remaining entangled as a unified soul-like entity grounded in Planck scale geometry.

Combining the string model and the projection of the moonlight on the water, I restored the soul to a circular ripple pattern. Then I draw a picture for the fabric after cutting and beading.I use jade beads to simulate the sense of light points of the soul shimmering and the reflection of water waves under the moon.




How do you actually feel the soul? It occurred to me that the soul has something to do with magnetism.A team of researchers at Caltech obtained a new type of Faraday cage for changing the relative orientation of the magnetic field to the brain, and tested that the subject's brain surprisingly showed the typical alpha-ERD pattern, i.e., the human brain can feel the magnetic field and respond to changes in the magnetic field.

So I measure the movement of the soul by detecting brain waves that reflect the magnetic field around them.



I imagine the magnetic field lines as a beautiful distance track that connects us and programming with Touch Designer is aimed to build a multifaceted mesh structure.

The programming is to color the mesh according to the input of the brain waves and then the projection in real time.
I decided to make the headgear into a mask. Because the mask from ancient times is a tool to hide their identity to communicate with the gods.

Based on the vision out of Touch Designer, I choose a model of the magnetic field lines model it with Nomand. Finally, modeling the mask with 3D printing.Use the previous beads to simulate the magnetic field lines. Put the electroencephalographic device into it to cover it. And the mask is finished.




In my opinion, modern society has caused a lack of faith in people, but we can use technology to rebuild the society in a new way.

I always believe that clothing is a good medium. I want to better express social philosophies and nature through fashion design, with the intention to inspire the wearer to think about his identity and behavior, and to work practically with technology to better the relationship between fashion and the environment.

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