Moda Tasarımı Eğitiminde Yaratıcı Tasarım ve Kalıp Geliştirme için Origami Kullanımı

Öz

Duruma yönelik tasarım odaklı düşünce yaklaşımı (Situation based design-thinking), tasarımcıları, bilgi ve yeteneklerini kullanarak tasarım çözümleri bulmak üzere, yenilikler aramaya yönlendirir. Bu çalışmada, tasarım odaklı düşünce yaklaşımı ile, moda tasarımı eğitiminde üç boyutlu yaratıcı düşünceyi teşvik etmek üzere geliştirilen bir süreç incelenmektedir. Araştırma için, Moda ve Tekstil Tasarımı Bölümü 2. sınıf öğrencileri ile bir uygulama gerçekleştirilmiştir. İki boyutlu fikirlerin üç boyutlu giysilere dönüştürülmesi sürecine odaklanarak yürütülen uygulamanın esin kaynağı olarak origami seçilmiş; böylece, öncelikle kâğıt üzerinde tasarlanan ve daha sonra kumaş ile yeniden yorumlanıp etek tasarımına dönüştürülen yaratıcı giysi yapılarının geliştirilmesi amaçlanmıştır. Çalışma sonuçları, projede uygulanan yöntemin, moda tasarımı eğitiminde yaratıcı düşünmeyi geliştirmek üzere başarılı bir yöntem olduğunu göstermektedir. Moda tasarımı ve kalıp hazırlama eğitimi için önerilen bu süreçte, giysi yapımı ve tasarım aşamaları birleştirilerek, tasarım öğrencilerinin deneysel bakış açılarını geliştirecek ve yenilikçi giysi yapılarına ulaşmalarına yardımcı olacak güncel bir yaklaşım sunulmaktadır.  

Anahtar Kelimeler

• Moda tasarımı eğitimi,kalıp hazırlama,giysi yapısı,origami,yaratıcılık

Using Origami for Creative Design and Pattern Development in Fashion Education

Öz

Situation based design-thinking challenges the designer to innovate while applying knowledge and skills in search of design solutions. This research explores design thinking and investigates a methodology for fashion design education, which assists students with 3-dimensional creative thinking.  The project was implemented with a group of 2nd year students from the Department of Fashion and Textile Design as a controlled exercise. With a focus on the transitional process from 2-dimensional ideas to 3-dimensional products, origami was selected as an inspiration point to explore complex structures, firstly in paper before reinterpretation in fabric as a skirt design. Overall results indicated that this project proposes a successful methodology for fashion design education in order to develop creative thinking. This approach to fashion design and pattern making education offers a more contemporary experiential path for design students in order to develop innovative structures by unifying making with design process.  

Anahtar Kelimeler

• Fashion design education,pattern making,garment structure,origami,creativity

Kaynakça

1. Aldrich, W., (1997), Metric Pattern Cutting. Blackwell Sciences Ltd, Oxford. p4.
2. Gully, R., (2010), Cognition and process vs. design artifact in fashion design pedagogy, Cumulus Working Papers. Pp.40-45, Cumulus Conference, 12–14 November 2009 Melbourne, Australia.
3. Cross, Nigel (2011) Design Thinking. Understanding How Designers Think and Work. Berg, Oxford; New York.
4. Lawson, B. and Dorst, K. (2009) Design Expertise. Elsevier, Oxford; MA, USA. pp.68-70
5. Choi, K.H., (2016), Practice-led origami-inspired fashion design: out of the frame: flight by paper plane, International Journal of Fashion Design, Technology and Education Vol. 9, Iss. 3, pp. 210-221.
6. Encyclopedia Britannica. Origami, https://www.britannica.com/art/origami, Accessed 25 May 2018
7. Niedderer, K. and Roworth-Stokes, S., (2007), The role and use of creative practice in research and its contribution to knowledge. International Association of Societies of Design Research, IASDR07 Conference, 12-15 November 2007, The Hong Kong Polytechnic University
8. Almond, K., (2010), Insufficient allure: the luxurious art and cost of creative pattern cutting, International Journal of Fashion Design, Technology and Education, Vol:3, Issue:1, pp.15-24.

9. English, B., (2011), Japanese Fashion Designers : The Work and Influence of Issey Miyake, Yohji Yamamotom, and Rei Kawakubo. Berg Publishers, Oxford.
10. Blanks, T., (2011), Fall 2011 Ready-to-Wear, Issey Miyake, Vogue [online], 4 March 2011, https://www.vogue.com/fashion-shows/fall-2011-ready-to-wear/issey-miyake Accessed 25 May 2018
11. Miyake, I. 132.5 Standard. Issey Miyake, https://www.isseymiyake.com/1325/standard/, Accessed 13 July 2018
12. Waibel, J. Julie Waibel Website, http://www.julewaibel.com/Jule-Waibel, Accessed 13 February 2018
13. Mower, S., (2007), Spring 2007 Couture Christian Dior, Vogue [online], 22 January 2007, https://www.vogue.com/fashion-shows/spring-2007-couture/christian-dior, Accessed 20 February 2018
14. Blaine, E., (2011), Avant-Garde Viktor & Rolf Coats are Woollen Wonders, Trend Hunter [online], 6 March 2011, https://www.trendhunter.com/trends/viktor-rolf-fall-2011, Accessed 13 July 2018
15. Ajurettemagablog (2010), Origami-inspired Fashion Designs - Part II Tuesday, 2 November 2010, http://ajurettemagablog.blogspot.com/2010/11/origami-inspired-fashion-designs-part.html, Accessed 13 July 2018
16. Sato, S. TR by Shingo Sato, https://www.patterndesign.org/, Accessed 19 July 2018 Roberts, J. Subtraction Cutting by Julian Roberts, http://www.julianand.com/, Accessed 19 July 2018
17. Nakamichi, T., (2010), Pattern Magic, Laurence King Publishing Ltd: London. p.26
18. Zaman, Z., (2014), Fashion Pattern Cutting: Line, Shape and Volume, Bloomsbury Visual Arts. p.7. ISBN: 978-1408156698.
19. Wu, C., (2003), Origami in Fashion, University of North Texas, August 2003. Available at: https://pdfs.semanticscholar.org/b363/12a72b4f8b0dc629f0349869a1e110a771e5.pdf, Accessed 20 February 2018
20. Ashdown, S.P., (2014), Not craft, not couture, not ‘home sewing’: teaching creative patternmaking to the iPod generation. International Journal of Fashion Design, Technology and Education, 6:2,112-120, DOI: https://doi.org/10.1080/17543266.2013.793747