1st Stop:
Fabric Manipulation
Fabric Manipulation
Embedded Files
Textures that are seen
Concept
Concept
Based on Gen Z's sense of individuality and rebelliousness, their outfits tend to be subtly unique, expressing themselves or their mood of the day. While different job natures dictates different styles based on functionality, I'm focusing on the less formal occasions and industries (media, arts, design, communications, hair-stylist, marketing and advertising etc.) These people will need semi-formal outfits to meet clients while portraying themselves as creatives. Therefore, my prints and creation will come from subtle aesthetics, minimalism and neutral tones.
Moodboard
DESIGN INTENT
I'm exploring prints that can convey personal expression while maintaining elegance. Patterns and aesthetics that are eye catching, yet not too loud. Autumn, with its crisp air, vibrant foliage, and cozy atmosphere, resonates deeply with Gen Z. This generation, often characterized by their digital-native lifestyle and appreciation for aesthetics, finds solace and inspiration in the changing seasons.
Autumn offers a perfect backdrop for Gen Z's love for cozy aesthetics, warm tones, and nostalgic feelings. It's a season that encourages introspection, creativity, and a slower pace of life and provides a much-needed respite from the hustle and bustle of everyday life.
"Gen Z would express themselves by low-key rebelling the workplace culture of dressing extremely formal. They would take a zen-formal approach where the outfit is neat but unique in some ways."
"Gen Z would express themselves by low-key rebelling the workplace culture of dressing extremely formal. They would take a zen-formal approach where the outfit is neat but unique in some ways."
SHIBORI TIE DYE
SHIBORI TIE DYE
There are many types of tie dye, but the most common are stripes, polka dots, and checks. Swirls and checks are the most popular because they are versatile and go with a lot of different outfits. Tie and dye can also be used to make a statement.
From TIBI by Amy Smilovic
From FARA Boutique
From Acne Studios
History & Understandings
History & Understandings
Tie-dyeing has a long history, dating back to the 6th century in both China and Japan. During the Tang Dynasty in China and the Nara Period in Japan, people used natural dyes extracted from plants to colour clothing. It has seen a revival in recent times, representing both nostalgia and personal style. Its capacity to evoke feelings of happiness, uniqueness, and togetherness has made it a lasting fashion trend that appeals to people of all ages and backgrounds.
Beyond its aesthetic appeal, tie-dye often carried spiritual meaning in various cultures. Patterns reminiscent of celestial bodies and cosmic swirls were thought to promote harmony and safety, fostering a feeling of spiritual connection. Tie-dye served as a means for individuals to express their bond with something larger than themselves, blending artistic expression with spirituality.
Shibori, once a humble dyeing technique, transformed into a symbol of status and wealth over time. The wealthy commissioned intricate shibori garments to flaunt their refined taste and financial success. These garments, often adorned with elaborate designs, became a way to display one's social standing.
Shibori also played a significant role in traditional Japanese ceremonies and celebrations. Kimonos, the iconic Japanese garment, were frequently embellished with shibori patterns, adding a touch of elegance and sophistication to these special occasions.
What's the difference between Shibori and Tie Dye?
Shibori is a Japanese word, that describes a method of textile design which uses threads or yarn, applied by hand to bind designs through pinching, gathering and stitching fabric. The threads create a resist pattern which is revealed post dyeing. Shibori has been employed since 8th century Japan some 1,300 years ago and originated in China.
Tie-dye is one of about 20 shibori dyeing styles, and it is a much simpler and faster method. While the basic principles are similar, tie-dye often involves fewer steps and less intricate patterns than traditional shibori styles.
Other Types Of Shibori:
Other Types Of Shibori:
Kanoko shibori is the most common type of tie-dye. It involves tying sections of fabric to create patterns. Traditional shibori uses thread for binding, and the pattern depends on how tightly and where the cloth is tied.
Miura shibori, also known as looped binding, involves gathering sections of cloth with a hooked needle. A thread is then looped around each section twice, held in place by tension rather than knots. This technique creates a unique water-like pattern on the dyed cloth.
Arashi shibori, also called pole-wrapping shibori, is a Japanese dyeing technique that produces diagonal stripes resembling raindrops driven by a storm.
Itajime shibori, a Japanese dyeing technique, involves clamping wooden pieces around folded fabric to create specific patterns by preventing the dye from coloring those areas.
Mokume shibori, or wood grain shibori, involves stitching lines onto the fabric at regular intervals. By tightly pulling these stitches, irregular wrinkles are created. When dyed, these wrinkles resist the dye, resulting in a unique wood grain pattern.
Reflection
Reflection
Personally I was never a fan of tie dye, but after doing some research and understanding how it can be used in numerous aesthetic pieces, I'm completely convinced that the impression I had of "tie dye" was simply the most widely seen version which isn't even the tip of the iceberg. Vivid rainbow colours, bold and large over-the-body twist design is what I remembered it to be like, but Shibori tie dye is a complete elevation of it, truly an eye opener for me.
It is a step by step process that involves a lot of technique, trial and errors to perfect. In this generation where information and tutorials are at our fingertips, these techniques can be easily replicated in just a few tries, but I can't imagine how people in the olden days managed to create such intricate patterns and even imagery.
After the research, it has sparked an interest in me and I'm excited try out some of the techniques that resonates with me.
KAZUKI TABATA
Japanese Shibori Artisan
A former salaryman specialising in sound engineering, Kazuki began his career in shibori after the passing of his uncle who worked in the family business as a traditional craftsman, which the Ministry of Economy, Trade and Industry certifies after at least 12 years of experience and succeeding written and practical exams. Kazuki, meanwhile, self-taught using the dyeing tools that were nearly thrown away, applying the technical skills of his formative studies in sound and lighting, its disciplines and aspects of collaboration, to inform his shibori creations.
Kazuki describes the compatibility between shibori dyeing and fabric as ‘necessary’, often favouring fibres such as cotton, linen and silk with character and depths best suited for effective dye penetration. Distinguished by the patterns or forms created from tying fabric, Kazuki specialises in methods such as kasa maki shibori, which resembles a wrapped umbrella, boshi shibori, resembling a hat, yukihana shibori, resembling snowflakes, and a unique technique known as tako boshi shibori, where the tied shape resembles an octopus. The dyes draw from traditional Japanese colours and hues found in nature throughout the four seasons.
The brand COS approached Kazuki for a collaboration, which led to the creation of many beautiful pieces.
‘For this collection, we utilised "sekka shibori" (snowflake shibori) and "tesuji shibori" (hand-stitched shibori). Both techniques rely on serendipitous dyeing methods, meaning we don't know what the pattern will look like until the shibori is unravelled. We dyed and redyed the fabric multiple times until the desired pattern emerged throughout the entire piece.’
Karin Gustafsson (design director at sustainable fashion brand COS)
"We wanted to explore shibori as part of our collection, so we did research into it ourselves first, but we felt that this is something that is not something that you just do—there’s so much more to it—and that we really needed to learn from a real craftsman. And we got the recommendations, and that’s how the journey started. (Tabata X COS)
I found with shibori, a lot of the themes are about nature and also the idea of fluidity and water, and from there, it sort of lends itself to what we were thinking. Sometimes [in design], we start with silhouettes, but in this instance, we actually started with the shibori artworks, and then sort of imagined the silhouettes and how to work with them in the best way."
Tabata Shibori X COS Collection
The collection is elegant and timeless, easy to wear and doesn't come across too striking like other tie dye methods. These pieces really opened my eyes to minimalistic designs shibori tie dye is able to achieve, differing completely from my knowledge of it before. These are pieces I myself would purchase and wear, so I think it is indeed a very successful collection.
Intent
Intent
In relation to my moodboard, I'm looking for something subtle yet abstract. Not so much a complete repeated pattern, but small bursts of highlights and an overall soft look. The pieces below are similar to what I have in mind, though those by Christophie Lemaire may still be too striking for my vision but I do like the movement it conveys.
By Stella Mccartney
By Tabata X COS
By Christophie Lemaire
My Attempts
My Attempts
Left: fig 2.2 Centre: Fig 2.1 Right: Fig. 1.1/1.2
Fig 1.1 Capping technique, drip dye (cotton)
Tried creating the scattered look here, which was pretty successful, but the contrast was still too strong between the fabric and print. I was looking for a softer feel, this colour was too saturated and bright too, as compared to my moodboard which was more nude and earthy tones.
Fig. 2.1 Rubber band tied, soaked in dye (cotton)
Really like how this turned out, I can visualise this pattern on one of my pieces from the motif. Linking this pattern back to the ripples/waves and movement in my moodboard, this pattern reall speaks to me.
Fig. 2.2 Rubber band tied, drip dye (polyester)
Fig 1.21 Capping technique, soaked in dye (polyester)
This technique was used in fig. 1.1, but on polyester the colours did not really retain. My attempt was to do a double colour scattered dye referencing the green+brown piece from Lemaire in my intent above. Light blue and brown was used, hoping to match my theme of autumn in my moodboard, with the lake and falling leaves. This did not turn out successful because it ended up too faded and thus, "dirty" looking, but I thought it might be interesting in black and white, thus figure 1.22 >>>
Fig 1.22 Monotone version of 1.21
After switching up the contrast and making it monotonous, it's closer to my motif. The idea of uncertainty, unpredictability and a tinge of rebellion/stubborn-ness.
For the random dye pieces, I personally quite like the results, as they do kind of mimic what Christophie Lemaire has done as shown in my intents, but I thought that the colours were either too vivid and concentrated(fig 1.1) or way too scattered and "dirty" looking (fig 1.2).
Cotton is more absorbent and will produce richer colours as compared to polyester.
In fig 1.2, I soaked the cloth for about 30 minutes.
For fig 2.2, the cloth was left for a longer period of time (about 1hr 30 minutes) and more colours remained.
copy_C129B178-665C-45A0-B6B5-5513DB3796A5.MOVWhile the goal was to achieve a scattered and unpredictable look, I also explored how shibori can help me achieve lines like those shown in the outfit made by COS in the intent.
Trying both rubber band bound and threaded cloth, the results actually turned out pretty similar, but my dye control needs to be improved as it was still too overwhelming compared to the thin and subtle pattern done by COS. Their design probably used larger folds and dripped dye to create the controlled yet scattered lines effect.
The two pieces below are failed attempts as it was not the intent I planned on achieving. In fig 3.1, I tried the arashi pole tying technique and it turned out uneven, with a gradient of colour. However I think the zig-zag parts at the top and bottom created by the rubber band bound is quite interesting. For figure 3.2, I dripped various coloured dye on a folded polyester fabric. It could be due to an over-watered dye ink and because polyester fabric by nature isn't very absorbent, it resulted in very faded tonations.
Fig 3.1, Arashi Technique, dripped dye on cotton
Fig 3.2, Fold technique, dripped dye on polyester
To achieve a more consistent and predictable result in my next tie-dye project, I'll need to use a more suitable fabric and a less diluted dye solution. The uneven color distribution in my previous attempt may have been caused by insufficient soaking time. Despite these initial challenges, I remain interested in exploring the potential of tie-dye and its application within my design theme.
Ice Dye
Ice Dye
After researching a little more into the other methods of tie dye, ice dyeing caught my attention because it was able to achieve a softer and gradient like texture on fabric.
The use of ice in dyeing is a modern development that emerged in the 1960s and 70s in the United States. Artists experimented with new dyeing methods during this period. One technique involved layering ice on fabric and sprinkling powdered dye on top. As the ice melted, the dye seeped into the fabric, creating unique patterns.
As the results of this can either be subtle or a burst of colour depending on the amount of time left there and the amount of dye powder sprinkled. My intent was to achieve a subtle look.
copy_BB7D58F5-BEA9-4FC9-9009-D769453DAAC7.MOVI used a poly cotton tshirt from uniqlo to try this technique as I wanted the see the results on a larger surface while projecting on an actual wearable.
I'm quite proud of how this turned out, and it is a technique I would love to explore further to be incorporated into my future collections. The inconsistency and subtle likes of movement ice printing can express is what catches my attention. Even if it's produced in bulk, every piece will be still unique to the circumstances and setting it is dyed in, which is what Gen Zs like myself are keen to embody. If only the cutting of this shirt was more unconventional, I think it will really make a beautiful and one-of-a-kind addition to any project.
BLEACH DYE
BLEACH DYE
All the bleach dying were done on dark blue cotton fabric.
This was a failed attempt as a Itajime clipped bleach dyeing technique, the centre of the cloth was not equally exposed as the outer layers, resulting in an imbalance of bleached areas. This wasn't part of my intent, but I wanted to try and see how it could turn out.
Fig. 4.1, capping technique on cotton
Fig 4.2, capping technique on cotton
Fig 3.1 and 3.2 were considered successful attempts as they are pretty close to what I had in mind, in fact they turned out much better than I had expected.
For 3.1, I left it in the bleach for about 30 minutes and the original cloth colour left was still quite intense, whereas for fig 3.2, I forgot about it and it was left for about 1 hour, resulting in a large surface area of the cloth soaking through with bleach.
Both results turned out great, the abstract look and unpredictability I was looking for.
I do see great potential in incorporating bleach shibori in my themed collection. Though it can be refined to achieve more consistant results, it's unpredictability is what caught my attention. I would love to explore more of its abstract beauty and possibilities.
HEAT SETTING
HEAT SETTING
Heat setting, a result of textile treatments like Shibori, involves applying high temperatures and controlled pressure to fabric. This process alters the fabric's physical properties, creating unique 3D shapes that depend on the pressure used and the type of resist applied. Shibori goes beyond surface patterns, transforming flat fabric into three-dimensional objects.
A short history
Shibori was the earliest textile dyeing technique found in the history of Japan. It can be dated from eighth century but it became popular only since 1960s. In 21st century, many textile designers continue to study the technique of shibori and tend to focus on the heat-setting effects resulted from shibori.
Images from Fashion The Future Now!
SELENA S KUZMAN
Visual Artist
Selena S Kuzman is multi-disciplinary artist, whose work includes performance/film & installation and image-making. Rooted in nature and in the body her work is inflected by personal identity and femininity, drawing inspiration from cinema, art history, fashion, photography, the personal, the collective.
Selena used 3D Shibori technique, adding texture and shaping textiles by exploiting the thermoplastic qualities of some synthetic fabrics in order to manipulate surfaces.
"Items are wrapped in plastic, secured with thread and then set with heat, and the process thereby leaves a “memory on cloth” – a permanent record, whether of patterning or texture, of the particular forms of resistance to the change. For fixing the pattern and to create pieces that appear organic, dyeing techniques were used to animate fabric into intricate and delicate shades of grey."
This artwork is from one of her Costumography collection, named "Selkie's New Clothes 2018"
REFLECTION
While I admire Selena's dedication to her craft, I recognize that her use of heat-setting, particularly how dense she placed her patterns, could potentially trigger trypophobia in some viewers. Given this, I would approach this technique with caution, considering the potential impact on the viewer.
While I am eager to experiment with marble heat setting, I acknowledge that it may not be the most suitable technique for my current design goals. However, I believe that understanding the limitations and possibilities of different techniques is essential for future creative endeavors.
ATTEMPT
I tried a few heat-setting techniques, starting with swirling and twisting the organza as it's the simplest. I was pleasantly surprised at the results, though predictable, and can actually visualise them on artefacts like bags, blazers and even curtains.
Fig. 3.1, Swirling
Fig. 3.2, Twisting
I experimented with tying marbles into a softer organza fabric, but the results were scattered and lacked definition. While this didn't achieve the precise 3D effect I was aiming for (as shown in Selena's work), I appreciate the subtle and unpredictable nature of the outcome. This could potentially be incorporated into future projects, along with the designs from Figure 3.1 and 3.2.
Fig. 3.3, Failed attempt, tying marbles
Fig. 3.4, Successful attempt, tying marbles
For the 3rd attempt (fig 3.3), I used a thicker and stiffer organza, leading to very defined shapes, durable and visually appealing(fig 3.31). This would be considered a successful attempt as I achieved the look of the conventional and most often seen type of shibori heat-setting.
Fig. 3.3, Successful attempt, tying marbles
fig 3.31
Reflection
Reflection
Heat setting is a fascinating technique that allows for intricate and detailed patterns through simple fabric manipulation. While the techniques I've explored are relatively straightforward, there are countless complex patterns that require significant experimentation and skill.
While I appreciate the aesthetic potential of heat-setting techniques, I don't see myself incorporating them into my own designs. The intricate and often 3D nature of these patterns doesn't align with my minimalist aesthetic.
Additionally, I've learned that a subtle approach in workplace attire can help maintain a professional image and avoid unnecessary attention. While bold and experimental designs are exciting, it's important to consider the context and the desired impression. Overly expressive clothing choices, like using heat setting, may not be appropriate for all work environments.
While I may not use this technique in my clothing designs, I can certainly see its potential for creating unique and eye-catching artwork or decorative pieces.
SILKSCREEN PRINTING
Screen printing is a technique where ink is forced through a mesh screen onto a surface, creating designs or images. The mesh has blocked areas that prevent ink from passing through. One color is printed at a time, so multiple screens are needed for multi-colored designs.
Screen printing originated in the East in China during the Song Dynasty (960–1279 AD) to transfer designs onto fabrics.
Summarized History
Silkscreen printing has been around for centuries, with its origins traced back to ancient China. The technique was initially used to create stencils and patterns on textiles. It gained popularity in the Western world during the 20th century, particularly in the art and advertising industries. Today, silkscreen printing is widely used for a variety of applications, including t-shirt printing, poster design, and industrial production.
In Japan, artists used to create stencils by cutting paper and then forcing ink through a mesh onto fabric with stiff brushes. This technique, known as katagami, was later adopted and refined by Japanese artisans. While the basic concept of using a mesh screen for printing has remained unchanged, the technique has become more sophisticated over time.
Katagami
In 1967, Warhol established a print-publishing business, Factory Additions, through which he published a series of screenprint portfolios on his signature subjects. Marilyn Monroe was the first one. Andy Warhol Marilyn Monroe 1967. MOMA
Images extracted from SAAR Foundation Website
Silkscreen printing was introduced to the Western world in the late 18th century through trade with Asia. However, it didn't become widely popular until enough silk was imported to support the technique. Andy Warhol, a famous artist, popularized silkscreen printing as an art form with his iconic portraits of Marilyn Monroe
S'ENVOLER STUDIO
Tiktok Clothing Brand
S'envoler was founded in 2021 in Los Angeles , California. A family-owned brand, everything is hand-printed in-house and they specialise in screen-printed designs on simple garments like tshirts, hoodies and shorts/sweatpants.
When I saw their pieces on Tiktok, I was immediately drawn to ther placement of prints. Their collections are all surrounding a similar theme of zen-ness. Nature, insects, birds, relaying vibes that convey peacefulness, serendipity and even spirituality. Though they aren't using any special or unique techniques, but their layout of screen prints is really deserving of acknowledgement. I love how they bring their designs to life using overlaying, sewing on printed pieces of clothes and unique placement of prints. Their image, text and detail layout is something I would really like to achieve.
While I admire the meticulous planning and execution of their designs, I recognize that my current skills may not be sufficient to replicate such intricate details. However, I'm eager to experiment with silkscreen printing on garments to explore its potential within my own design aesthetic
Inv.sion
Tiktok Brand
Invsion is a Chicago based art project creating mixed media artworks. He transfers some of his art pieces onto hoodie and tshirt blanks, often using silkscreen printing and embroidery concurrently.
While I appreciate the artist's unique approach of transforming personal artwork into wearable pieces, I find some of the placements of the prints to be a bit unconventional. While I admire the artist's dedication to creating unique pieces, I don't always agree with their aesthetic choices. Some of the print placements feel a bit random and others, overwhelming. However, I respect their artistic vision and the effort they put into each piece.
The artist's dedication to hand-drawing intricate designs on every delivery box is truly inspiring. It's clear that he is passionate about his brand and is involved in every aspect of the business, from illustration to marketing and it's all a one man show. I've seen his work frequently on TikTok, highlighting his active promotion of the brand. This level of commitment is something I admire, especially considering my own unfinished projects. He motivates me to persevere and pursue my creative goals.
INTENT
INTENT
I aimed to create prints that evoke a sense of peace and movement, drawing inspiration from autumnal elements. By incorporating images of birds, falling leaves, and people engaged in everyday activities, I sought to convey a romantic and tranquil atmosphere.
Fig 4.1
Fig 4.2
Fig 4.3
Fig 4.4
At this stage, I was eager to experiment with screen printing, a technique I'd long been curious about. While I was excited to explore various design ideas, I needed to remain focused on my original theme. For example, the motif in Figure 4.4, didn't align perfectly with my project's direction. It was a personal exploration related to my clothing brand, "The Art of Something." I initially considered creating a more versatile screen that could be used for future projects. However, I realized that this approach might compromise the specific requirements of this project. The grading criteria emphasized creative layout techniques, and a straightforward representation of the idea might not fully meet these expectations.
Laying out the design on the screen was a delicate process. I had to ensure that each element was spaced appropriately to allow for individual printing. Initially, I was tempted to fill every available space with various autumnal motifs and in which I did. However, I soon realized that overcrowding the screen could compromise the overall design. This experience taught me the importance of restraint and selective placement in design. I had too many scattered ideas with no strong message. This was something I had to work on.
ATTEMPTS
ATTEMPTS
100% Cotton
100% Polyester
Fabrics and Clothing Pieces I used
Satin
100% Cotton body
100% Polyester sleeves
Cotton white pants
Fabric used to create my bag (Cotton/Poly, Tencel)
Initially, I planned to use silkscreening for my bag design. However, after creating a sample print, I realized that the technique didn't align with my desired aesthetic. The sharp, precise lines of the silkscreen print didn't match the soft, abstract look I was aiming for. (Refer to next technique for continuation)
Practise print
I practised the printing methods a few times, trying to find inspiration to create an interesting layout. I understood that we are supposed to come up with a unique layout that matches our theme, but when I selected my motif illustrations, what I had in mind was what I had in the illustration, so it was a challenge to recreate it in a sense.
Repeat printing
Layer print tryout.
A normal screen print as consideration if this was what I wanted on my bag artefact.
My idea of a layout initially was how it should be placed on a garment to fit my theme, so I decided to first experiment with different screen printing techniques, such as powder print and foil print, hoping for a breakthrough. While I aimed for a vintage, textured look with the powder print, the final result was less than ideal. The powdery residue within the ink detracted from the desired aesthetic.
Powder printing
For foil printing, I made the error of applying the foil to the fabric incorrectly, resulting in a failed attempt. However, during the drying process, I accidentally discovered a unique printing technique that perfectly aligned with my design vision. The results of this unexpected discovery are showcased in the video below.
copy_5783DDE0-955C-4FF6-BC24-973A4755D75C.MOV
The waste fabric I used to remove excess paint that helped me discover "stamp printing". It's like an extra step taken after screen printing to transfer paint that isn't absorbed onto another surface, which in turn creates a retro stamp look.
The almost successful gold foil print with some imperfections.
I printed off-white paint on newspaper and transferred it using stamp printing onto the garment.
After that discovery, I was confident to work on the other garments, and this is when I failed.
For this pant's print, the paint was too watery and I printed trice, which led to it being oversaturated and dense. There was barely any details on it, and the unevenly mixed paint resulted in red blotches within the paint.
I held hope that it might look better after it dried.
It only got worse.
I was disappointed with the outcome of this print. To improve the next prints, I ensured that the paint was mixed thoroughly and had the correct consistency. Also, I realized that the number of print layers should be adjusted based on the fabric's thickness and absorbency.
To fix this issue, I cut out this side of the pants and replaced it with soft denim. The results are in Sewing and Draping.
I then proceeded with printing on other garments which were somewhat successful.
Personal Favourite Works
I was pleased with the outcome of this design. The minimalist and abstract aesthetic aligns perfectly with my artistic vision, capturing a sense of freedom and movement. This piece has the potential to be a key component of my future clothing collection.
While the overall design was successful, there were some minor imperfections caused by the proximity of the bird motifs on the screen. This resulted in subtle streaks around the edges of the birds and it can be seen in close-up. However, this mistake can be corrected when I revise this project again in future and I'm still fairly happy with this print.
Screen printing and stamp printing
The video captures the dynamic process of creating this piece. The resulting print beautifully conveys a sense of movement and a moody autumnal atmosphere. While I might have added a few more white dots to enhance the overall effect, the current design still exceeded my own expectations. I'm proud of the outcome and the journey of experimentation that led to this final piece.
Reflection
Reflection
Screen-printing has always been in my to-do list and I'm glad I finally got the opportunity to create something with it. Screen printing proved to be a delightful and rewarding experience. I particularly enjoyed the hands-on nature of the process and the satisfaction of seeing my designs come to life on fabric.
However, I also became aware of the environmental impact of this technique, especially the significant water consumption involved in cleaning the screens. Going forward, I'll aim to use screen printing judiciously, ensuring that it's essential to the design and not merely an aesthetic choice.
BLEACH DYE
BLEACH DYE
Bleach Dye is a fabric dyeing technique that involves using bleach to create unique patterns and effects on dyed fabrics. The process typically involves applying bleach to specific areas of a previously dyed fabric, causing the bleach to remove the color from those areas, revealing the original fabric color or a lighter shade.
Brief History
Bleach dyeing has a long history, dating back to ancient Egypt. Traditional textile cultures in India and Japan also used natural bleaches to alter fabric colors. In the 1960s and 70s, bleach dyeing gained popularity in the Western world, particularly among the hippie movement. Its accessibility and ease of use made it a popular DIY technique. More recently, high-fashion designers have incorporated bleach dyeing into their collections, elevating it to a mainstream trend.
People putting out linens to bleach in the fields
Before any chemical solutions were invented, the ancient Egyptians would exposed their fabrics to the the sun for a long period of time to bleach it. Even after the liquid cleaning agents were invented, the British textile industry would soak their linen fabrics in sour milk or buttermilk and then layed it on specially designated grasslands, exposing it in the sun for days to whiten/bleach the fabric. (Lerner & Lerner, 2004)
Hippie bleached clothes from FAIRE
Bleaching fabric can be detailed and contextual as well, unlike the bleaching process as shown above. I was inspired to explore bleach print further after coming across the artist below.
AKRAAM AHAMMED
Artist
Akraam Ahammed Aka AKRAAMAHAM Is a British/Bangladeshi multi-media artist based in London who’s practice is rooted in self-reflection utilising any form of visual art to express his concepts.
He often explores his own identity/environment growing up, from the mundane to very specific experiences, and translates them to art works using various experimental mediums and methods.
He is now exploring prints on ready-to-wear garments and his work caught my attention on Instagram. He shares his process and snippets of how he concepts and composites the pieces.
Using organic leaves, he prints them on clothes by hand. Every piece takes him about 6-15 hours depending on complexity, as he has shared in one of his videos. He is very intentional with every print and the goal is to "capture the environment".
Him exploring the technique on hats.
His conceptualiation and annotations (from his Instagram @akraamaham)
His latest venture creating the pattern on loose fabric and sewing them into a teddy bear.
Reflections
Reflections
His work and demonstrations inspired me to try leaf printing on my artefact. This technique perfectly captures a subtle yet unique natural element, which aligns with my mood board's theme. While I initially considered screen printing, I found it too overpowering for my desired aesthetic.
Akraam's innovative approach to leaf print, incorporating color and experimenting with different applications, is truly inspiring. His dedication to exploring the depths of this technique and pushing its boundaries is commendable. This is what I should be expecting from myself, exploring various techniques and once I've picked one I truly find inspiring, dive deep into it and find a perspective others could not see. Creativity sometimes lies in reconstruction and slight adjustments to what already exists.
a failed ATTEMPT
Trying to leaf print for the first time, I wasn't sure of how it worked exactly. It looked pretty simple, Just dipping leaves in bleach and "stamping" it on fabric, no?
No.
Failed Bleach Leaf Print.MOVThere was actually way more attempts than these, but they all looked similar, with random smudges and blobs, there was almost no detail of the leaves.
What was used for the first attempt:
Bleach+water for dilution
Waste fabric from the making of the bag
Leaves I stole from my own garden
Gloves
Iron (not shown)
What was learnt from this failure:
The heat of the iron should be at small-medium
The leaves are very waterproof and there's no way to control the consistency of bleach on leaf, so it's definitly NOT done this way.
The print came out sharper on the dark brown and looks very smudged on the light grey even if it wasn't.
The yellow on brown was kind of unique, but not exactly the colour scheme I was looking for in the final product.
Should NOT be ironing the print WITH the leaf, it dries up, harden and dies very quickly
Though Akraamaham was not exactly gate-keeping his techniques, he also did not share what he did to get such sharp and detailed results. The quality of my prints was definitely not ready to be printed on my actual bag fabric. Searching through Youtube, Instagram and Tiktok, there are actually only a handful of people who shared their process of leaf printing online and even fewer that uses bleach to leaf print. The main issue is having the bleach spread evenly across the leaf, in one thin layer, so that the details will surface.
a better ATTEMPT
In this attempt, undiluted bleach was used, bringing the bleached effect more towards white than yellow. Coming across a youtube video where a lady placed the leaf on wet serviette to make sure the leaf was evenly soaked in bleach, I decided to try it out.
Bleach Leaf Printing.MOVHalfway through the printing, the serviettes started to disintergrate ever so slightly. Just a very thin layer getting stuck on the leaf, and that's all it took for a not so successful print.
The white specks on the leaf are remains of the serviette. Almost invisible to the naked eyes when soaked in bleach.
The serviette remains results in big chunks of blotches when printing the leaves, as shown in the grey frabric here>
Halfway through, I changed the serviette after realising this issue, however, the leaves seems to be "contaminated" in the way where they easily get the new serviette stuck on their surface. After every print, its surface has to be cleaned properly.
As usual, the print on grey fabric is naturally blurred. Akraamaham was right, the process is simple, but it takes a very long time due to the planning of composition.
I also attempted using diluted bleach to layer the undiluted prints, creating different shades and tones.
As a personal exploration, I feel that it gives the attempt so much more purpose when there is a strong intent in mind, knowing what you want to create and work towards it until succession. This print was made intentionally to not only match the motif, but also as an actual design element on a product.
FINAL PIECE
BLEACH ON BROWN FABRIC
FULL LEAF ON SMALL POCKET
FULL LEAF ON SMALL POCKET
BLEACH ON OFF-WHITE FABRIC
Despite using the same bleaching techniques on both fabrics, the results varied. The bleach had a less pronounced effect on the off-white fabric, resulting in a subtle color change. In contrast, the brown fabric exhibited a more dramatic transformation, with a clear distinction between the yellow (diluted bleach) and white (undiluted bleach) areas.
Both fabrics, while labeled as poly/cotton blends, exhibited different reactions to the bleaching process. The off-white fabric, which felt slightly stiffer, seemed less susceptible to the bleach, resulting in a more subtle color change. This suggests potential variations in the specific blend of polyester and cotton in each fabric.
REFLECTION
The journey of mastering the bleach technique was a rollercoaster of emotions. Initially, I was filled with excitement and anticipation, eager to experiment with this new method. However, as I encountered numerous challenges, my enthusiasm waned. Time constraints added to the pressure, making it difficult to persist. The print had to be done before I was able to put the bag together and that pressure really tempted me to change a type of print method.
Despite the setbacks, I did not give up. I was determined to achieve the desired effect, and I knew that alternative methods wouldn't capture the same ethereal beauty. With each failed attempt, I learned valuable lessons and refined my technique. Finally, though still with flaws, I achieved the balance of subtle leaf bleach printing. This experience taught me the importance of perseverance and the power of overcoming obstacles. While this project has come to an end, I'm eager to continue experimenting with the bleaching technique. The versatility of this method, combined with its ability to create unique and visually appealing effects, makes it a valuable tool in my design arsenal. I believe that this technique can be applied to a wide range of garments and accessories, opening up endless possibilities for future creative endeavors.
LOOKBOOK
LASER CUTTING
LASER CUTTING
Fabric laser printing uses lasers to directly print high-resolution designs onto textiles. This method vaporizes dye on the fabric, allowing for vibrant colors and intricate patterns while minimizing waste. It's ideal for custom designs and small production runs in the textile industry.
Brief History
Laser printing originated in the 1970s with the development of the first laser printer by Xerox, which combined laser technology and electrostatic imaging for high-quality document production. Over the following decades, advancements made laser printers more affordable and accessible, leading to widespread use in both commercial and personal settings.
Albert Einstein
The history of laser cutting began when Albert Einstein formulated his hypothesis on "stimulated emission of radiation," which underpins modern laser technology. In 1959, scientist Gordon Gould built on Einstein's theory by suggesting that light could be amplified through stimulated emission of radiation. He named his theory Light Amplification by Stimulated Emission of Radiation, abbreviated as LASER.
Theodore Maiman created the first functional laser in 1960 at a California lab, producing a deep red beam from synthetic ruby, though many contemporaries viewed it skeptically as "a solution seeking a problem." However, scientists at Bell Labs recognized its potential, leading to advancements like laser-assisted thermal cutting in 1964, when Kumar Patel developed a carbon dioxide gas laser, and J.E. Geusic introduced the crystal laser technique; this innovation gained public attention when it was featured in the 1964 James Bond film Goldfinger.
Goldfinger (1964)
Modern Laser Cutting Machine
Since Boeing started producing laser-drilled dies in the late 1960s, laser cutting technology has evolved significantly. Today, it's widely used in various industries, especially for manufacturing automobile parts and construction, allowing for the cutting of thicker and more diverse materials, including acrylic, leather, hard plastics, and metal.
Laser Cutting in Fashion
Threeasfour, SS14, New York.
Threeasfour, SS14, New York.
The Spring-Summer 2014 Threeasfour show showcased innovative use of laser-cut fabric. By layering geometric patterns of laser-cut fabric, the designers achieved soft and ethereal effects. The strategic placement of negative spaces created by the laser cutting process enhanced the silhouette of the garments, particularly in off-the-shoulder designs and flowing dresses. The interplay of light and shadow through these voids added a captivating dimension to the garments.
The laser-cut silhouettes created by Threeasfour are particularly intriguing, especially how the fabric drapes over the body. The choice of fabric significantly impacts the overall drape and movement of the garment. Additionally, the strategic layering of different-sized patterns adds depth and dimension to the textiles.
REFLECTION
Laser cutting has always captivated me. Witnessing its precise and clean cuts on various materials in online videos sparked a burning curiosity within me to try it myself. The process itself seems incredibly satisfying, with the laser gliding effortlessly and leaving behind flawless edges. While I never envisioned applying this technique to garment design, this opportunity has me brimming with excitement. I can't wait to see how laser cutting can elevate my design and translate my vision into a truly unique and impressive creation.
ATTEMPTS
copy_37F87502-533E-4A9E-A357-22E5F868FFED.MOVDocumenting the laser cutting process was a valuable learning experience. While the precision and efficiency of the technique were impressive, I struggled to envision how it could be seamlessly integrated into my garment design. The challenge lay in finding a way to utilize this technology to enhance my aesthetic vision without compromising the integrity of the garment.
Placement A
I started with a simple leaf cut-out, and it was surprisingly inspiring. Seeing the delicate detail and clean lines sparked my imagination. I began to envision how this technique could be applied to my bag or jacket design. Sometimes, the best ideas come from simple experiments and unexpected discoveries.
While my initial design didn't incorporate cut-out fabric pieces, I decided to explore different possibilities. Experimenting with various layouts helped me visualize potential applications for these elements, even if they didn't fit within the scope of my current project.
While placements A and B may seem simple, they hold a personal aesthetic appeal for me. I believe that using a thin white cotton fabric and layering it over a red fabric will create a visually interesting contrast in material and add depth.
Placement B
Engraving
Engraving proved to be a relatively straightforward technique for me. I quickly grasped its potential and could envision its application in various projects, such as notebook covers, pouches, bags, and even layered jackets.
I used the same leaf motif for both the silkscreen and laser-cut techniques. This allowed me to compare the visual impact of each method. While both techniques were effective, I found that the laser-cut leaves provided a more delicate and textured effect, better capturing the ethereal quality of autumn foliage.
Reflection
While I didn't delve deep into laser cutting and engraving for this specific project as my motifs require a more natural printing method, I found the techniques to be fascinating. The precision and detail achievable through these methods are truly impressive. I can envision incorporating laser cutting and engraving into future projects that require a more technical and precise aesthetic.
Though laser cut and engraving is not unheard of, but in fashion it is still more limited than other popular prints like heat transfer, screen printing, embroidery etc. As a designer, expanding my knowledge of various print techniques can significantly enhance my creative process. By exploring less common methods, I can develop unique and innovative designs that stand out in the market.
CYANOTYPE
CYANOTYPE
Cyanotype is a photographic process that creates blue prints on light-sensitive fabric or paper. The fabric or paper is exposed to light, and the exposed areas turn blue. The name cyanotype was derived from the Greek name cyan, meaning “dark-blue impression.”
Brief History
Brief History
Cyanotype was invented in 1842 by Sir John Herschel, a British astronomer and chemist. It was one of the earliest photographic processes and was initially used to reproduce technical drawings and mathematical tables. Cyanotypes gained popularity in the late 19th and early 20th centuries as a simple and accessible way to create photographic prints. Today, cyanotype is still used by artists and photographers for its unique aesthetic and versatility.
John Hershel’s cyanotype print ‘Lady with Harp’.
Timeline of the cyanotype process by Dusan C. Stulik, T he Getty Conservation Institute
INSPIRING PIECES
Fashion Students’ Collections at NYFW
Fashion Students’ Collections at NYFW
Vanessa Fath hand-printed portraits of sexual-assault survivors and their allies using cyanotype and platinum/palladium processes on her “I Believe You” menswear collection. Working with upcycled denim, she was inspired by the mosaics in denim’s origin city of Nimes, France, and the Denim Day movement to end sexual assault.
Cyanotype features in Chicco Mao's Spring-Summer Collection
The new seasonal collection is themed on 潮 (tide), a Chinese character comprising water, earth, sun and moon, embodying the vastness of nature and interpreting that everything in the universe possesses a spiritual essence, according to the designer.
Artwork by Livvy Aru Mcsweeny created in 2022, titled "Waterbody"
Livvy soaked the chosen garment in cyanotype emulsion, allowed it to dry, then wore the piece into the lake, river, or ocean chosen while residing in Iceland. Cyanotype works best when fixed in a neutral or slightly acidic water ph level which is not something you can control if you are using wild water sources, particularly in Iceland as the basalt rock creates a low ph, high mineral, ground water.
Reflection
Inspired by the unique and dynamic nature of cyanotype printing, I'm eager to explore its potential within my autumn-themed, minimalist design. The beautiful blue hues and the way they react to light offer endless possibilities for creating striking and unconventional patterns. The designers shown above all used cyanotype, but the results are so different, all having their own unique touch to it.
The NYFW student's work showcased a classic cyanotype technique, using recognizable imagery. However, it was their innovative layout and placement on the coat that truly elevated the design.
Chicco Mao's collection, on the other hand, took a more experimental approach. The intricate details of chains, wires, and jewelry, hidden within the seemingly random waves and ripples, created a mesmerizing 3D effect. This unique perspective has inspired me to think about the potential of layering and texture in my own cyanotype work.
Livvy's artwork, with its varying shades of blue, is equally captivating. The choice of material, possibly organza, adds a delicate and ethereal quality to the piece. I'm curious to explore the specific techniques used to achieve this effect, particularly considering the challenges of applying cyanotype to a material that may not traditionally be suitable.
INTENT
I was drawn to the idea of capturing a sense of uncontrolled movement within my design. While previous techniques like shibori and bleach printing offered some possibilities, I felt that cyanotype could provide a more ethereal and organic effect.
“Night Moths” by William Baxter Closson
Negative of "Night Moths"
I chose this image because I love the subtle contrast it portrays and am curious how it will turn out with cyanotype.
This image depicts the movement I wanted very directly, I printed them out on transparencies to find out how it will turn out. >
Sourced from Pinterest (actual source unknown)
This image has a very washed and controlled chaos mood, which I was also keen to explore in my prints. >
Fig Sourced from Pinterest (actual source unknown)
<< I gathered dried flowers and leaves from my mother's ex bouquet to experiment with a classic printing technique. While these are common motifs, their natural beauty and versatility make them a timeless choice for design.
ATTEMPTS
I began my cyanotype experiment by exposing the "Night Moths" transparency to light for just one minute. While the initial print was promising, the color faded slightly after oxidation.
Washing the printed cloth with vinegar will bring out the mid-tones more, and I did so with the coloured moth (fig 5.1). The colour did come out more vivid and a wider range of blue shades.
Yellow water is normal wash.
When washed with vinegar, the water will turn green instead of yellow.
Fig 5.1, washed with vingear
Fig 5.2, washed with tap water.
The hot afternoon sun at around 3pm
Fig 5.3, First sun-printing attempt on white cotton fabric
SUN PRINTING
I had to try printing under the sun because cyanotype is also known as sun-printing. The entire process was really exciting as I could see the print taking form slowly as the minutes passed.
The unique part of printing using dried leaves and flowers is that there are shadows casted by the sunlight at an angle, so those semi exposed portions are a mystery to me while in this waiting process. Below the layer of dried plants, I had placed the "Night Moth" transparency as well to see if I was able to achieve a combined result.
As the first attempt was pretty successful, I was eager to print on garments so the results can be worn in future. This is when I was met with an unforeseen issue.
Random gusts of wind added an unexpected element to the printing process. The shifting of the transparency and dried plants created dynamic and unpredictable patterns, resulting in a series of unique and organic prints.
Needless to say, I LOVE IT.
Fig 5.4, Second sun-printing attempt using garments.
Fig 5.5, I carefully placed the dried leaves and flowers within a plastic bag to prevent them from shifting during the exposure process. The yellow treated fabric will then be placed face down on top of the arrangement, ready to be exposed to light.
RESULTS (cut out cotton fabric)
2nd from left: Fig 5.5, Middle piece: Fig 5.3, Last piece, Light box print with transparency
The last piece was actually quite disappointing as I was expecting something more abstract considering how happening the actual image looks. I had it printed once and didn't give it another chance. It gave off a "fake abstract" feeling that I couldn't put my finger on.
Failed Attempts
The one on the left is a failed attempt using the plants transparency motive. Pants on the right is the results of Fig 5.4, the one exposed with transparency.
Re-exposing the pants with the light box. Sadly, it barely made a difference.
The overexposure to the light source likely contributed to the less-than-ideal outcome. I had exposed the image on the left thrice and the details were barely noticeable.
I found the print on the pants too faded as well. Despite a second attempt with the same pair of pants and moth print, the desired level of darkness wasn't achieved.
Successful results of Fig 5.4, where there were random movements from the dried plants.
I was particularly pleased with the soft, ethereal quality of the print. The subtle blurring of the lines created a sense of depth and movement.
This technique has the potential to be scaled up for production, allowing for unique variations in each piece while maintaining a cohesive overall aesthetic.
REFLECTION
Cyanotype printing has been my favorite process so far. The unpredictable nature of the technique, with its potential for unique and unexpected results, aligns perfectly with my aesthetic vision.
I was particularly fascinated by the accidental blue streaks that appeared on the shirt after two days of drying. This unexpected outcome showcased the delicate balance between control and chance in the creative process. When I first picked it up again, my first thought was "oh no, it is ruined." but then I decided to do some changes to the cutting of the shirt, like cropping its length and edges of the sleeves to make the entire outlook more raw looking, which I thought really suit my theme.
LOOK BOOK
Utilising the techniques I've learnt above, I applied it onto a few garment pieces.
Lightbox printed, dried plants in plastic
Lightbox printed, dried plants in plastic
Sun Printed, moving dried plants
Night Moths Collection
Lightbox printed, "NIght Moths" negative, which didn't really show up.
Sun Printed, Moving transparency of "Night Moths"
Lightbox printed, dried plants in plastic, made into the wristband above.
FINAL THOUGHTS
Even though it was a fulfilling process in itself, what truly encouraged me was when my model saw the shirt and tried it on, he asked if I was able to sell it to him. He really liked it and was even willing to pay for it. That was more than just a compliment, it was a real validation from my target audience. I knew some of the pieces were less appealing as a product, and more of a biased opinion from the effort of creating it and the sense of self-fulfilment, but knowing that some pieces really do have a market is really a pleasant surprise to me. It proves that my motif and theme is on the right track and will potentially be reaching a larger audience.
To any creator, artist or designer, we are all working towards a purpose, a message they want the world to receive. My motifs and theme can be great, but if it doesn't resonate with my target audience, then it won't be a successful campaign. Our primary goal is always to create something that resonates with our audience and it's essential to consider their preferences and expectations. With that, I think my personal goal has been met in this process.
Having experimented with various printing techniques, I've gained a deeper understanding of their strengths and limitations. Each attempt, whether successful or not, has contributed to my growth as a designer. I'm excited to continue exploring these techniques and pushing the boundaries of my creativity.
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