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Sense Move Costume by Zhulin Shi |
Home > Winners > Design #90799 >Interview |
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FS: What is the main principle, idea and inspiration behind your design?
ZS: A common thread was found in my research, which is costumes can make a connection between movement, imagination and emotion. I attempted to design costumes that serves the bi-lateral relationship between Poetic Design and the Pattern Language of Dance.
FS: What has been your main focus in designing this work? Especially what did you want to achieve?
ZS: Design thinking - "how can costume further link emotional experience to our mind?" and "how can audiences be more involved in the performance?"
FS: What are your future plans for this award winning design?
ZS: Further expand it to other fashion accessories that can light up people's life.
FS: How long did it take you to design this particular concept?
ZS: 6 months.
FS: Why did you design this particular concept? Was this design commissioned or did you decide to pursuit an inspiration?
ZS: It is started from industrial design thesis at Pratt. It is related from my experience in dancing and choreography. I love dancing. I started dancing from 5 years old. The costumes like Cinderella’s dress gave me confidence on the stage. In 2011, I studied contact improvisation in UC Davis with famous choreographer Nita Little.
FS: Is your design being produced or used by another company, or do you plan to sell or lease the production rights or do you intent to produce your work yourself?
ZS: In 2018, “Sense Move” Costume has been applied in a multimedia opera – Semulacrum in New York.
FS: What made you design this particular type of work?
ZS: Interdisciplinary background, integrating Industrial design, fashion design, design engineering, Choreography.
FS: Where there any other designs and/or designers that helped the influence the design of your work?
ZS: I did a lot research online. I feel many costume designers' works inspired me, such as issay miyaka's designs.
FS: Who is the target customer for his design?
ZS: An multimedia opera.
FS: What sets this design apart from other similar or resembling concepts?
ZS: “Sense Move” Costume communicates emotionally through the body movements of the dancers. It not only presents dynamic forms like a Kinetic 3D Sculpture, but also creates new geometric space for the dancers. The concept combing with expression form and material is very unique and experimental.
FS: How did you come up with the name for this design? What does it mean?
ZS: The costume can sense the people and move with them.
FS: Which design tools did you use when you were working on this project?
ZS: prototyping, sketching, draping, cutting sewing, sewing, soldering and programming
FS: What is the most unique aspect of your design?
ZS: The concept.
FS: Who did you collaborate with for this design? Did you work with people with technical / specialized skills?
ZS: Yin Mei, whose wise words “I can create an architecture space using my joints, which is already telling a story” sparked my inspiration. My initial concept is about geometrical folding following along with the kinetic movement of the body. In the beginning, I did some explorations with straws creating structures in different scales and connections. Finally, I was so excited to discover that the connected parallelogram can create unpredictable geometric forms with my body movement. I did tests on myself firstly. It not only changes with the body movement, but also creates new geometric space for the dancers. I put led light in it and tested it on Yinmei. She told me, “Holding it, I feel like I am getting some power, the dance movement is changed by it.”
FS: What is the role of technology in this particular design?
ZS: Programing. I used installed pressure sensors connected with the led light and used audio to program.
FS: Is your design influenced by data or analytical research in any way? What kind of research did you conduct for making this design?
ZS: No.
FS: What are some of the challenges you faced during the design/realization of your concept?
ZS: I was struggled with different artistic transformable forms and constructions. I am excited to found out this smart form at end.
FS: How did you decide to submit your design to an international design competition?
ZS: I want to share the design with more people. And I want people to hear my voice. The design presents me. It is one of my significant designs.
FS: What did you learn or how did you improve yourself during the designing of this work?
ZS: More exploration, more mock-up, more testing, and more efforts to connect and communicate with people.
FS: Any other things you would like to cover that have not been covered in these questions?
ZS: I really appreciate everybody involved in this project who has given helps for me.
FS: Thank you for providing us with this opportunity to interview you.
A' Design Award and Competitions grants rights to press members and bloggers to use parts of this interview. This interview is provided as it is; DesignPRWire and A' Design Award and Competitions cannot be held responsible for the answers given by participating designers.
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