1st Stop :

Fabric Manipulation #2

To create imperfect possibilities

C O N C E P T

THE ART OF ADULTING

The transition to adulthood often presents Gen Z with the challenge of balancing personal identity with societal expectations. This can lead to a sense of conformity and a suppression of individual expression. Clothing, however, offers a powerful avenue for self-discovery and self-assertion. By incorporating unique design elements into their attire, such as unconventional cuts or distinctive surface treatments, individuals can subtly express their individuality while navigating the complexities of the adult world.

M O O D B O A R D

Inspired by the raw artistry of natural forces like water, wind, fire, and sand, I employ subtle fabric manipulation techniques to create unique and unexpected textures. This approach mirrors the evolving consciousness of Gen Z, where individuality is expressed through a unique interpretation of shared experiences. The color palette, inspired by cinematic color grading (orange and teal), reflects the complexities of the human experience – a blend of warmth, energy, tranquility, and introspection – resonating deeply with the multifaceted nature of this generation.

We enter society with the inherent desire for freedom, often equated with financial stability. This pursuit drives us to work, striving to earn enough to improve our quality of life. Consequently, our attire reflects this duality: a need for comfort in a demanding, fast-paced world, while simultaneously maintaining a professional image befitting our roles within society.

THE IDEA

To maintain the design's minimalist and professional aesthetic, surface design elements will be exclusively applied to the jeans' attachable bag, creating a subtle yet distinctive focal point.

Due to the bag's interchangeable nature, it can be constructed using a variety of fabrics and manipulation techniques.

My exploration below will serve as possible outcomes to various bag surface design options based on the concept above.

GRAVITY

The concept of gravity dyeing was inspired by a brand I encountered online. This technique, where dye is allowed to flow onto the fabric under the influence of gravity, consistently yielded unique and unexpected results. There were no 'successes' or 'failures,' only variations – each piece a testament to the unpredictable nature of the process. The dye used was that of Shibori tie dye.

gravity.mp4

Two attempts were made. The first resulted in unintended drip patterns due to liquid seeping through a seam between the fabric and bottle. Despite its interesting outcome, the resulting effect appeared too chaotic for my concept.

first attempt, leaking dye

Following the application of a seamless duct-tape seal at the junction, the second attempt yielded results closely aligned with my plan.

The organic, melted appearance, resulting from gravity and shibori techniques, resonates with my design goal of infusing natural elements into the bag's surface, providing a visually compelling yet restrained focal point.

This technique immortalizes the fluid movement of water in vibrant color, lending a striking, personality-rich accent to garments or accessories. As a Gen Z, this would be a lowkey statement piece I would carry around. It strongly resonates with my theme of a fall collection as well:

"a misty landscape that adds a sense of mystery and introspection."

LIGHT

Cyanotype printing has captivated my interest last semester and I'd like to delve deeper into the other possibilities. Its inherent aesthetic beauty deeply resonates with my moodboard(movement), and I believe there is immense potential for further exploration and creative experimentation within this versatile medium.

Stick pattern that doesn't show at all

Too much cyanotype

OUTCOME

My initial approach involved using sticks and brushes to create a free-flowing, organic pattern. However, the highly fluid nature of the cyanotype solution proved unsuitable for this technique. The excess cyanotype saturated the fabric, resulting in a less defined and more diffuse design than I had envisioned. This particular method didn't achieve the desired effect, so I'll likely explore alternative printing methods, such as acrylics or plastisol screen printing, to realize my initial concept.

As a whole I'd say that this is a failed attempt but there are certain parts that did catch my attention, like the light abstrct brush strokes at the edge of the fabric or the splatters at the sides. Linking back to the blurriness and liberating feeling in my moodboard, this was somewhat acceptable.

Reflecting on my concept, I became intrigued by the potential of incorporating wind into the cyanotype process. An accidental, yet serendipitous, outcome from last semester—where wind-blown leaves and flowers interacted with the print—gave me a starting point for exploration.

The interaction between wind and cyanotype printing presents a fascinating chemistry. While sharp, well-defined images are usually the ideal outcome, the introduction of wind, carrying leaves, flowers, or other debris, can disrupt the process. This unexpected movement can lead to blurred or undefined areas within the print, creating an element of chance and unpredictability. Ironically, these 'imperfections' are precisely the aesthetic I am seeking to achieve in my fabric manipulation experiments.

The print turned out less defined and more subtle, which is what i wanted to achieve.

Synchronicity

I tried to re-create the effect that I accidentally did last semester, this time intentionally waiting for wind to arrive.

cyanotype 1.mp4

I tried to re-create the effect that I accidentally did last semester, this time intentionally waiting for wind to arrive.

OUTCOME #2

The semi-blurred outlines, a key desired effect, were successfully achieved, harmonizing with the weather conditions. However, the strong UV exposure resulted in some overly sharp leaf lines, slightly detracting from the overall vision. 7/10.

Looking at the light dancing with the leaves, I was inspired to try something else. With nothing but nature.

cyanotype 2.mp4

It looked very promising when the fabric was under exposure, but due to many factors (could be exposure time, sun uncertainty etc.) the results were quite underwhelming.

OUTCOME #3

The subtle highlights and patterns may appear more pronounced on screen due to slight digital enhancement.

The understated quality, though personally appealing and consistent with my nuanced design approach, raises concerns regarding its practical visibility.

RESEARCH

Sharp vs Blurred shadows

Here are some moments with light that was almost breath-taking. I was able to capture them with my camera lens, but how do I do so with cyanotype?

To achieve a blurry edge with light, I realised it's not only about the brightness, but also how far the object is to the projected area.

Technically, it's easily achievable simply with the play of light source, but can this blurry effect translate to other mediums? I would love to make that happen with negatives like bleach.

With this thought in mind, I think I'm able to progress towards my visions in a more directed manner.

It's not exactly about capturing the light, but the feeling. Shadows play a huge part in this too.

CONCEPT

blurred lines, dancing leaves, just like nature.

The freedom that we crave, the desire to be ourselves, to express.

I don't know why I thought it was a good idea to use a man-made light source to recreate the blurred lines, but I guess I wanted a more controlled environment...

0331.mp4

It did not play out as expected. Sunlight saved the day.

9.5/10

As close as I can get to my intents.

The overlapping of leaves, double exposure effect and the background/ foreground feel. This is the most intentional natural look I was able to achieve with just the same elements.

Visualisation on the bag ^

REFLECTION

"Sometimes you don't have to change anything drastically, but simply perfecting what is already in front of you." - ching, 2025

Jokes aside, this whole series of attempts taught me that it's not always as complicated as I thought. Finding out how to manipulate the same process could just be the key.

ELEMENTALS

I heard you can't get tumeric off your clothes if it was stained. Can it dye?

I'm attempting various elements that could replace or work with cyanotype, just to see if it can create a similar effect but with a new perspective.

Given the recent weather's volatility, I opted for the controlled environment of a lightbox to secure reliable results in these trials.

I prepared two solutions: baking soda to fix the turmeric print and bleach the cyanotype's blue, and turmeric to potentially infuse the faded cyanotype with yellow.

CYANOTYPE

What was used for the print. Starting with the basics.

A sharp cyanotype print was essential as a baseline, allowing me to accurately assess the success of the following procedures.

After dipping it in the baking soda infused water for 5 minutes, the blue had faded quite a bit.

TURMERIC

Turmeric + Alcohol

While brushing the solution, I harbored doubts about the lightbox's efficacy, as the original method called for 4-6 hours of sun exposure. Nonetheless, I set the lightbox timer to six minutes, hoping for a discernible effect.

The curing process yielded a surprising rusty red hue. While the subtle flower prints initially seemed too faint, I found myself appreciating them more upon review.

1 month update...

The leaf patterns vanished, and the desired rusty red morphed into a dull brown, making this print method incompatible with my aesthetic. While I value wabi-sabi, this level of print degradation, resulting in a dirty brown, is counterproductive.

Tumeric can dye, but not well.

TURMERIC + CYANOTYPE

Turmeric brushed

Cyanotype layer

It came out from the lightbox like this.

After curing it in baking soda water

The experiment failed to retain the planned floral/plant patterns, yielding only a uniform rust hue. In an effort to repurpose the fabric, I turned to screen printing.

This came off a little too clean and sharp to me, so I looked around for another medium that could help me achieve a less rigid feel.

This fabric was the fabric that Timmi was using, and after seeing the texture and density, I knew this was the "stamp" I needed.

The stamped effect contrasted sharply with screen printing, yielding a distinctly vintage aesthetic, especially against the rusty red-brown background.

While the technique held potential, the absence of a clear visual direction for the bag's surface design resulted in its exclusion. My design focus continues to prioritize organic print methods.

On the flipside of this fabric, I was curious how brown paint would look on brown, so painted on a crushed plastic bag and stamped it on.

The paint's unexpectedly heavy application yielded a visually striking, albeit unintended, undefined look, which aligned with my moodboard's exploration of uncertainty. While I'm open to plastic printing in the future, I would opt for a medium that produces a less pronounced effect than plastisol.

BRUSH STROKES

Inspired by another artist's work, I was intrigued by the idea of using inked sticks or other objects to create spontaneous patterns on fabric. This technique evokes a sense of catharsis, much like a rage room, where the resulting print becomes a visual representation of the artist's emotional state in that moment. The unpredictability of the dye's movement adds an element of chance and surprise, resulting in unique and often breathtakingly beautiful abstract designs.

During a recent office repainting project, I was captivated by the unique patterns created by the brushstrokes. This inspired me to translate these patterns onto fabric. My initial experiment using bleach proved unsuccessful, leading me to investigate alternative approaches.

paint.mp4

The unexpected ripple effect created by the mixing of white and blue paint while washing the brushes was mesmerizing. I'm eager to find ways to translate this dynamic movement and organic pattern formation into my fabric work.

RESULTS

Paint indeed had the perfect density, creating the semi-predictable patterns I had hoped for. I just need to replicate this with plastisol or other denser fabric dye to recreate this effect.

NEGATIVE

I'm drawn to the inherent unpredictability of bleaching techniques. The degree of bleaching, ranging from subtle highlights to dramatic effects, is entirely dependent on the duration of exposure and the dilution of the bleach solution. This element of chance is particularly exciting to explore as my theme surrounds abstract and blurriness.

For my initial experiment, I mixed corn flour with the bleach to increase its viscosity, hoping to achieve more defined and controlled brushstrokes.

Washing the fabric after thirty minutes yielded no discernible bleaching effect. This second failure, following the coffee experiment, suggests corn flour is not a viable thickening agent for bleach.

With the above knowledge, I tried looking for denser bleach, and noticed that Clorex toilet cleaner has the right texture.

For this iteration, I used denim and finer paint brushes, shifting my focus from texture to manipulating the duration of the process.

The duration of bleach on fabric determines the print's intensity, from subtle fading to complete color removal.

After painting these, I left it out for a minute before adding on.

After repeating the process a few times.

Knowing that this works, I transferred this technique to a larger fabric of different properties.

3 bleach solutions with different concentrations. (from left: 100%, 75% 50%)

tools used.

This black fabric is water resistant, so when bleach is brushed on it, it takes a while for it to absorb.

Due to this property, dense bleach solutions became unnecessary, as the brush technique inherently created the intended uneven texture.

This pattern was created with the mixture of all 3 concentrations of bleach.

OUTCOME

The achieved effect was remarkably aligned with my envisioned aesthetic, featuring the desired subtle print gaps and blurred, organic lines. This felt like a vivid realization of the blurred shadow concept, brought to life through a different material.

Using sticks and leaves, I attempted 3 more techniques. First using random splatters and whacking.

The result was eye-catching, but it lacked an X-factor. It wasn't impactful enough and a little too loud if linked to my initial concept of subtle highlights.

The second was using a mist spray and leaves, bringing out the outline of the leaves.

The foresty feel was a pleasant surprise. Here, i found tranquility in chaos. It is a mess but exactly where it should be at the same time. In chinese, there's a term "乱中有序", meaning organised chaos, which I feel strongly relates to this print and to my original intentions of using nature to create an organic look.

VENTING

The last, and my favourite, was using a stick I picked up from lower peirce reservoir to vent any stress I've had lately.

whack.mp4

This is one method that truly resonates with my theme. Gen Zs at work, I'm sure there's a lot of pent up stress and frustration. This print perfectly encapsulates that feeling of release while looking like nature, which brings another kind of peace.

This print will definitely be in one of my collections.

FRICTION

If I can't bring fire into the equation as it's a destroyer type of element, stone wash is one technique that I want to bring into my collection. Saving all washing machines from repair, I decided to use brute force.

stonewash.mp4

My strength control aside, I really like how it turned out. A faded look, similar to the blurry effect I had in mind, but in its very own personality.

This technique is finding beauty in destruction. As time passes, it might fade further with more washes. As wabi-sabi as it sounds, this. might be one of the most preferred method due to its accessibility and ease of creating.

ABSTRACT

BUBBLES

Intrigued by the visual and tactile potential of bubble printing, I was compelled to explore this technique. The unpredictable nature of the resulting marks fueled my desire to experiment and discover its possibilities.

My initial approach involved exploring negative bleach printing, a technique I selected for its promise of lasting results and captivating visual effects.

bbb.mp4

As expected, the bleach application was insufficient to produce a prominent pattern. While visible under direct light, the effect is too subtle.

So I tried again...

Added a lot more bleach.

I realised this time there wasn't as much bubbles as before, probably because the ratio of dish-washing liquid and bleach is off.

I let the bubbles die down naturally and it turned out too watery. I can already foresee this isn't the results I wanted, so I immediately worked on a new one.

I spread the bubbles out using a spoon this time, avoiding dense concentrations.

Understanding how this works best, I moved on using normal watery bleach to create a sample print.

Using normal bleach seems to have a different effect, turning the print grey instead of reddish.

This randomness is exactly what I was looking for. Its faintness is just nice, strong enough to leave an impression but understated enough to maintain a professional image.

WAX AND CRACKS

"Light will shine through cracks."

I want to bring this to life.

My first attempt was a mess, not knowing how to deal with wax.

copy_EFF14E79-4A3E-498F-9445-525860049AF5.MOV

Peeling it off was the hardest part, but I loved how it turned out and wanted to see how well this will work with negatives.

I attempted to add in another type of wax, hoping it will be easier to peel off the fabric. Long story short, there was barely a difference.

wax bleach .mp4

Difficulties aside, this was a very rewarding process. I had almost no idea how each fabric will turn out. even if there is a crack, it doesn't mean the liquid will touch that area. There were a lot of curation in the process, but the results are definitely worth the effort.

wax + blue dye

wax + bleach

wax + bleach + blue dye

Though the method is almost identical, but each of the results yielded very different feelings. If I had to choose a favourite among the 3, I can't.

This is the definition of seeing perfection within imperfections. What's broken doesn't always have to be fixed, we don't always have to conform to the norms in the society. If we can find a crack, a grey area, or a comfort zone between the two extremes, who's to stop us from expressing ourselves?

NATURE

At the beginning of adulting, it is a very natural process to be unsure, to experience an existential crisis.

Always intrigued by the aesthetic blues/purple of what blue pea flowers can create, I wanted to see what I can achieve with this flower.

To soften the starkness of the white twill fabric, I sought a subtle color change from using blue pea dying. Opting against conventional fabric dyes due to their intensity, I aimed for a light, faded effect.

I first soaked white twill into a blue pea infused hot water, but it wasn't long until the water cooled down and I felt it wasn't effective in dying.

With some aid from mentors, the entire setup was transferred into a pot to boil. This would by right bring the colours out, but we weren't sure if it was too late.

As the steps were wrong, the results weren't desirable, making the fabric look more dirty and grey than blue/purple.

As an experiment, I also put a few petals directly onto the white twill to see what effects there could be.

blue pea flower in warm water

After drying, the print was barely visible. If I didn't do this print myself, I might not be able to guess what it is.

A slightest tint of blue can be seen on the dyed fabric, but this isn't something I'd like to pursue further as a fabric dying method as it's too unpredictable.

TOP 10 LOOKBOOK

REFLECTION

Throughout these explorations, I specifically chose to keep them 2D, only catching attention with the actual surface design more than using external exaggeration. Bringing these back into context, they are perfectly in sync with my idea of balance between expression and professionalism. Quietly powerful is what I'm trying to achieve, and this journey to unlock meaningful techniques is just the beginning.

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