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The Study on the Application of Handmade Xiabu (Ramie Fabric) in Contemporary Women's Fashion Design
2019
Master of Fine Arts Thesis, Tsinghua University
Advisor: Professor Yue Wang
Department of Textile and Fashion Design, Academy of Arts & Design, Tsinghua University
Master of Fine Arts Thesis, Tsinghua University
Advisor: Professor Yue Wang
Department of Textile and Fashion Design, Academy of Arts & Design, Tsinghua University
As public awareness of cultural heritage and environmental sustainability in fashion grows, more consumers are seeking unique and differentiated clothing experiences. This thesis focuses on the application of traditional handmade Xiabu materials in women's fashion design. Through literature research and field studies in the Hunan, Jiangxi, and Chongqing regions, it systematically reviews the development history and weaving techniques of Xiabu. Grounded in traditional craftsmanship and supported by graduation design practice, the research explores the expansion of texture and functionality of Xiabu materials through weaving and post-processing techniques using contemporary fashion design language. It aims to enhance the added value of Xiabu and explore the various possibilities of integrating traditional materials into contemporary women's fashion design.
China has long been a major exporter of Xiabu, with ramie serving as an important textile fiber crop since ancient times. As early as the Spring and Autumn and Warring States periods, the ancestors in Jiangxi began cultivating ramie and using it to produce handmade cloth. Jiangxi's ramie cloth was considered a premium fabric in ancient China, selected as a tribute during the Tang and Song dynasties, and exported overseas during the Ming and Qing dynasties. During the large-scale "Huguang Fills Sichuan" migration, the cultivation of ramie and the weaving techniques of Xiabu were brought to Sichuan, leading to the development of the uniquely characteristic Ronglong Xiabu. This gave rise to the popular saying, "Ronglong and Erchang produce Xiabu." Today, the primary production areas of Xiabu are concentrated in Sichuan, Chongqing, Hunan, and Jiangxi.However, in the 1930s, the loss of the Korean Xiabu market and the increase in tariffs on Xiabu imports by Japan led to the decline of the domestic Xiabu industry. With the impact of industrialized production and the aging of Xiabu artisans, traditional weaving skills and tool-making techniques could not be effectively passed down. Additionally, outdated handmade production methods resulted in poor fabric usability, low added value of export products, and an over-reliance on foreign markets, leading to severe challenges for the modern Xiabu industry.
Social Background:
The rise of emerging fashion brands and the fast fashion, fast consumption concept has led to high pollution and energy consumption, making the path toward green and sustainable development in the textile industry challenging. The demand for natural and eco-friendly materials has become increasingly urgent. In the current trend where people are embracing green consumption, returning to a natural lifestyle, and seeking non-standardized clothing options, Xiabu has once again been brought to the forefront of history. President Xi Jinping emphasized the need to "strengthen cultural confidence" and "build a socialist cultural power" during the 19th National Congress. The national "11th Five-Year Plan for Textile Industry Development" also highlighted that the key tasks for the ramie textile industry are to vigorously promote ramie cultivation, raw material processing, textile technology, and the innovative development of product lines【2】. As a distinctive textile of China, the preservation of Xiabu weaving techniques and the use of raw materials not only enrich the diversity of traditional cultural carriers but also serve as a spiritual link that promotes national wisdom, advocates skill collaboration, and maintains community relationships.
Cultural Background:
Hunan is one of the production areas of Xiabu, and the author, motivated by a deep love for their hometown's culture, developed a connection with Xiabu while participating in the Tsinghua University Art and Science Research Center’s Qipai Intangible Cultural Heritage Research and Protection Fund project, as well as the National Art Fund project hosted by Sichuan Fine Arts Institute—"Fashion Expression of Traditional Materials: Rongchang Xiabu Innovative Reconstruction Talent Training." This experience inspired the author to choose this topic for their graduation research.Today, Japan and South Korea, with their advanced biological degumming and dyeing technologies, import ramie cloth from China, soften it, and develop products that far exceed the value of domestic Xiabu. Therefore, it is essential to focus on local resources, using contemporary design language to explore the possibilities of traditional materials and enhance their added value. This approach is not only a moral responsibility for the younger generation of fashion designers but also a necessary trend to enrich their creative resources and search for the "roots" of culture.
The protection of intangible cultural heritage has been incorporated into the national strategy for building a culturally strong nation. Xiabu, as a product of the self-sufficient agrarian era, carries profound cultural significance in every aspect, from ramie cultivation and the manufacturing of Xiabu tools to the transmission of core weaving techniques.From the perspective of preservation, the objective is to study and understand the historical origins of Xiabu, conduct a comparative analysis of the current state of the industry, and adapt the fabric production process to local conditions. This includes hands-on practice and the cultivation of skills in line with traditional craftsmanship.From the perspective of inheritance, the goal is to transform the labor of "hands" and "heart"—the process of weaving ramie into fabric—into wearable products that adhere to principles of green and fashion design, grounded in the distinctive characteristics of local culture. By driving innovation in the design of traditional materials, the research aims to bring Xiabu back into the spotlight, making it accessible to a wider audience.
Research Significance：
Social Significance:As Japanese author Yonezawa Yonezawa once said, "The work of artisans is their life itself, containing ancient wisdom and skills, and even embodying the history of their culture." In the post-industrial era of globalization, where artificial intelligence is widely applied across various industries, products have become homogenized, and cultural boundaries are increasingly blurred. However, handmade art remains deeply rooted in people's lives, tested by history, and forms part of intangible cultural heritage—a crystallization of national wisdom. As the international fashion system disintegrates, people no longer blindly follow trends imposed by developed countries. Consumers increasingly seek unique and distinctive clothing expressions to convey their individuality, leading to the vibrant growth of national brands. Xiabu, as a traditional Chinese fabric, represents the early beginnings of global textile history with its intricate weaving techniques. The natural texture and tactile feel of handmade Xiabu align perfectly with the aesthetic philosophy of Eastern culture. Encouraging more designers to use culturally significant materials and showcase designs with Chinese characteristics on the international stage is a manifestation of national confidence.
Economic Significance:Currently, China exports Xiabu primarily as raw cloth to Japan and South Korea, where it is softened, dyed, and sold worldwide at high prices. The labor invested by Chinese artisans is often not proportionate to the rewards they receive. Beyond post-processing techniques, the limitations in the knowledge structure, aesthetics, and age demographics of Xiabu artisans and related workers hinder the material's design and development potential. China has a long history of Xiabu research and a favorable environment for ramie cultivation. As a green and sustainable fabric, Xiabu holds significant untapped economic value. Bringing Xiabu into the consumer's field of vision also promotes diversified development in modern women's fashion design.
Academic Significance:The preservation of handmade Xiabu craftsmanship is not only about safeguarding folk art but also about aligning with the trend of green, eco-friendly fashion and the rejection of standardized clothing. Xiabu can only maximize its technical, practical, cultural, and national value when it is promoted as a wearable material. This research enriches the diversity of traditional Chinese textile culture and provides a reference for the preservation of other traditional crafts in modern society. It also offers new perspectives for the application of handmade fabrics in contemporary women's fashion design.
Currently, domestic literature on Xiabu is extensive and diverse. Chinese historical texts contain abundant records related to ramie culture, providing detailed accounts of the agricultural timing for Xiabu raw materials, as well as poetic praises and reflections by scholars and poets. Agricultural writings frequently mention Xiabu. In modern literature, various perspectives analyze Xiabu from regions such as Sichuan, Chongqing, Hunan, and Jiangxi, with most studies focusing on the economic reasons behind the decline of the Xiabu industry. A few documents that analyze Xiabu raw materials are primarily based on research in the field of bioengineering, while there is relatively little literature on the application of Xiabu in clothing design.In terms of cultural practice, apart from companies like Hunan Huasheng Group, which focuses on machine-spun ramie yarn production, there are also grassroots efforts by organizations such as Chongqing Yiqiu Xiabu Workshop, Rongchang Tianyun Ramie Textile, Chongqing Bumanai Xiabu Studio, Jiangxi Xiabu Embroidery Museum, and Jiangxi Xianyun Xiabu. These groups are promoting the application and development of Xiabu, though the products they develop are mostly decorative items. Additionally, many private collectors have purchased large collections of Xiabu and hold regular exhibitions, contributing to scholars and Xiabu enthusiasts.Moreover, an increasing number of university students and faculty are engaging in research projects related to Xiabu. For example, Sichuan Fine Arts Institute applied for and received funding for the National Art Fund project titled "Fashion Expression of Traditional Materials: Innovative Reconstruction Talent Training for Rongchang Xiabu," and Beijing Institute of Fashion Technology has established a "Xiabu Research Base" and "Internship Base" in Liuyang. These initiatives not only enrich the research on Xiabu but also promote its innovative application in modern design.
Foreign Research Status：
In Japan, the traditional Xiabu production techniques, such as "Echigo Jofu" and "Ojiya Chijimi" (Note: These techniques developed naturally in the Echigo Shiozawa region of Japan, involving spinning and weaving in the snow, washing with snowmelt water, and drying in the snow), and Korea's Hansan Ramie Weaving have been included in UNESCO's "Representative List of the Intangible Cultural Heritage of Humanity" in 2009 and 2011, respectively. Japan has retained a long-standing tradition of using Xiabu, from kimono obi belts to shop curtains, all made from Xiabu. However, it has become difficult to find ramie spinners in Japan, leading to the import of most Xiabu raw materials from China.In Kyoto, Mr. Takashi Hashimoto and his wife, who run the "Aoni Textiles" workshop, are dedicated to preserving the craft of Xiabu while also engaging in its trade. They have visited China multiple times to exchange knowledge with scholars. Nobuko Hirota, a researcher of bark and grass fibers, spent over 20 years traveling across Japan to learn from various artisans, culminating in the creation of her classic illustrated work The Original Scenery of Fabrics, which is highly valuable. Mr. Sachio Yoshioka, the head of Kyoto’s Yoshioka Dyeing Workshop, uses ancestral boiling techniques to showcase the diverse modern expressions of Xiabu. A single scarf dyed under his supervision can sell for tens of thousands of yen.Additionally, Mr. Shinichiro Yoshida of the Tokyo Kinsei Ramie Research Institute holds a collection of handwoven ramie garments from the Edo and Nara periods, representing nearly 300 years of history across different social classes.
- Rooted in Cultural Heritage: Xiabu has remained resilient throughout China's 5,000-year cultural history, largely due to the social connections maintained by its handcrafted processes. Therefore, the author emphasizes the core techniques of Xiabu—hand-spinning and hand-weaving—using consumer-grade ramie yarn as the primary design material. This approach is particularly relevant given that handcrafted, finely-made Xiabu is rarely seen in the market due to challenges in its transmission.
- Innovation in Yarn and Weaving: By innovating in the weaving process—replacing the weft yarn while keeping the warp yarn unchanged—the author maintains the fabric’s structural integrity while introducing mixed textures that vary in thickness. This not only enhances the artistic effect and functionality of Xiabu but also diversifies its texture.
- Softening Treatment for Fabric Renewal: On the basis of innovative reconstruction, the author applies a softening treatment to the fabric, revitalizing Xiabu and fundamentally breaking its traditional, rigid impression. This process makes the fabric more suitable for clothing, allowing it to interact with nature and breathe new life into the reconstructed Xiabu.
- Addressing Narrow-Width Fabric Challenges: Traditional Xiabu weaving requires the use of a waist loom, where the weaver manually extends the width of the fabric with their arms, leading to the limitation of narrow fabric widths—a long-standing challenge for designers. The author utilizes reconstructed Xiabu, taking advantage of its texture to tailor and piece together large silhouette garments from narrow-width fabric. This approach increases the adaptability and decorative potential of handcrafted fabric in garment design, providing contemporary young designers with a more diverse Xiabu design language.
Theoretical Challenges:
- Limited Preservation and Historical Evidence: In ancient times, Xiabu (ramie cloth) was primarily worn by commoners, and burial items made from it did not receive the same level of protection as those in noble tombs. Silk fabrics were often more valued by later generations, resulting in few surviving examples of Xiabu. Most existing pieces are ramie fragments, and scholars have to rely heavily on literary descriptions without physical references, which significantly complicates research.
- Scarcity of Research on Modern Applications: There is limited research on the application of Xiabu in modern women's fashion, with very few existing documents, particularly those focusing on hand-weaving techniques. This lack of academic resources presents a major obstacle for scholars and designers interested in this area.
- Absence of Established Xiabu Fashion Brands: Currently, there are no dedicated brands that focus on Xiabu clothing. Although some designers use Xiabu fabric, their efforts are not systematic, and there is little coverage in the media. The material’s properties are not well-defined, and there is a lack of established references or paradigms to guide its use in fashion.
Practical Challenges:
- Challenges in Handcrafted Xiabu for Fashion Design: While traditional Xiabu weaving techniques are refined and meticulous, comparable to silk, modern issues with the fabric’s usability and tailoring pose significant challenges for its application in fashion design. The discontinuity in the transmission of Xiabu craftsmanship has led to a loss of skills. The coarse, stiff, and loosely woven ramie yarn often results in discomfort, such as itching when worn, and makes the fabric difficult to cut without causing the warp and weft threads to separate, which hinders its use in basic clothing design.
- Disrupted Industry Chain: The decline of the Xiabu industry has made it difficult to establish a cohesive production chain between raw material processing and skilled weavers. The available design resources are scattered, and integrating them from scratch is a formidable challenge.
- Customization and Communication Difficulties: The handcrafted nature of Xiabu requires bespoke tailoring, which complicates communication between the designer and the artisans due to the subjective nature of custom designs. Additionally, the inherent unpredictability of handmade products leads to variations in the final fabric, making it difficult to achieve consistent design outcomes. This unpredictability adds to the complexity of the author’s design process.
I also referred to 27 articles on the historical origins of Xiabu, covering investigations into ramie culture and historical development. Additionally, 14 articles focus on Xiabu craftsmanship, ranging from its functional characteristics to fabric improvement research, and 15 articles analyze the economic development of the Xiabu industry in the Hunan, Jiangxi, and Chongqing regions. Regarding the preservation of Xiabu, 13 articles discuss the sustainable inheritance of traditional Xiabu.
In the study of the history of Chinese ramie textiles, ancient documents contain numerous records on ramie cultivation and weaving, such as the Tang Liudian, which details the grades and distribution of Xiabu, as well as the Book of Songs, Rites of Zhou, and Tiangong Kaiwu, which also mention ramie cultivation and weaving. Various geographical records also discuss the history of Xiabu in specific regions. However, while there is extensive research on ancient Chinese textiles, much of it focuses on silk, with fewer studies on ramie textiles. Moreover, most early ramie textile artifacts in museums are fragments. In China, there is more research on ramie fiber processing, but less attention is given to the craftsmanship of Xiabu. Academic discussions often focus on cultural preservation, industry research, and innovation in heritage, while systematic research on the entire production process of Xiabu remains largely unexplored.
In comparison, academic research on Xiabu in the Sichuan and Chongqing regions is relatively more in-depth, especially in areas such as the inheritance of Xiabu culture, the current state of craftsmanship, and protection and innovation. For example, Professor Yu Qiang from Sichuan Fine Arts Institute authored The Sound of Looms: The History and Inheritance of Xiabu Craft in the Ronglong Region of Sichuan and Chongqing. Additionally, the foreign text The Original Scenery of Fabrics: Cloth and Machines of Bark and Grass Fibers provides a detailed comparative study of the history, fiber characteristics, and production processes of bast fiber textiles (including Xiabu) in Japan, Korea, and Southeast Asia, accompanied by illustrations and hand-drawn diagrams of the processes. The research methods in this work are particularly worthy of emulation.
In summary, these literature sources have provided critical research foundations for my design practice, deepening my understanding of Xiabu and offering valuable references for writing this thesis.
In the study of applications in women's fashion design, the practices and philosophies of three contemporary designers have also provided important support for my work. The first is Chitose Abe, the designer of the Japanese women's brand Sacai. Abe insists on creating clothes that women are willing to wear, stating, "The weakened trend is the future trend... Clothes are not decorations; only when worn do they become something beautiful." I share this belief that fabric is not meant to be merely decorative; it becomes something beautiful only when worn, and women's clothing must have feminine characteristics. The sense of inclusiveness conveyed by pleats is one important element in expressing femininity.
The second is Issey Miyake, whose design philosophy is fundamentally rooted in the concept of "a piece of cloth," where the body creates the free form of clothing, emphasizing the authenticity of the fabric, which requires no ironing and remains unchanged. I resonate with Issey Miyake’s advocacy of Eastern aesthetics and reflect on the application of Xiabu: Hand-spun ramie yarn embodies the essence of "a piece of cloth," and artisans can continuously spin a single thread of yarn. Additionally, Xiabu, as a traditional fabric gifted by nature, has free textures and natural colors, and thus Xiabu garments should also be free, not confined by the limitations of narrow-width fabric.
The third designer is Ma Ke, the creator of the Chinese brand "Wu Yong." Ma Ke advocates for "a life of freedom and simplicity, pursuing spiritual growth and freedom." She aims to convey deeper meanings through clothing, seeking to revive the craftsmanship and items discarded by industrialization and considered useless by the public. Xiabu, as one of the forgotten crafts of the industrial era, serves as the subject of my exploration into the free expression of traditional materials in women’s fashion.
- Hand-Spun Ramie Yarn: The process of spinning, or "ji," is an ancient and essential textile technique mastered by the early Chinese. This technique evolved from rope-making and is primarily used for long plant fibers like ramie. The fibers are split into hair-thin strands, which are then twisted and spun together to form long yarns. Hand-spinning preserves the natural luster of the ramie fibers, resulting in fabric that is not only stiff and durable but also exhibits a natural texture. However, this process is time-consuming and requires a high level of skill, as the quality of the yarn directly determines the final fabric's quality. Each yarn is unique, with its thickness and twist controlled by the artisan's tactile perception, which cannot be standardized or replicated by machines. Despite advancements in technology and the rise of artificial intelligence, the ancient art of hand-spinning ramie is still preserved, much like it was during the Neolithic era. The irregular surface of the hand-spun yarn and the uneven tension in the spinning process mean that Xiabu can only be woven on traditional waist looms using a one-dimensional weaving method. This method preserves the structural integrity of the fibers and retains the fabric's natural advantages, such as toughness, durability, and resistance to bacteria and decay.
- Ramie as the Raw Material: While the spinning process is a method used for creating yarn from various plant fibers, not all fabrics made from hand-spun ramie are called Xiabu. Among bast fibers, ramie stands out for its superior qualities. Ramie, a member of the nettle family, grows in the warm, rainy regions of southern China. Compared to other bast fibers, ramie is particularly resistant to moisture, has antibacterial and breathable properties, and is strong, long, and resilient. Its high cellulose content makes it easier to degum, facilitating the production of fine-quality yarn. Ramie’s color, texture, and dyeing capabilities are exceptional, making it an ideal material for fabric. As a fiber plant native to China, ramie is also known as "China Grass," and Xiabu is thus sometimes referred to as the "Fabric of China." According to the History of Chinese Textile Science and Technology, before the widespread adoption of cotton, ramie was the primary material for clothing, second only to silk, and was predominantly used by commoners. After the Song and Yuan dynasties, cotton became popular in the central plains of China, and ramie fabric became more commonly used as summer cloth. Ramie is the sole raw material for Xiabu, and through the process of hand-spinning and handweaving, it becomes the fabric known as Xiabu.
Xiabu has held an important place in traditional Chinese clothing. The history of its raw material, ramie fiber, can be traced back to the Neolithic period. For example, plain-woven ramie fabric was unearthed at the Liangzhu Culture site, dating from approximately 3300 BCE to 2000 BCE, with a thread count of about 30x20 threads per square centimeter【3】. This discovery indicates that the ramie weaving techniques at the time had already reached a high level of refinement.
Ramie cloth was known by various names depending on its fineness, such as "Zhu Bu" and "Si Bu." In the Shuowen Jiezi, an ancient Chinese dictionary compiled by Xu Shen during the Eastern Han dynasty, it is mentioned that "zhu" refers to coarse ramie cloth, while finer versions are called "juan." The term "Xiabu" itself can be traced back at least to the Ming dynasty. According to the Bamin Tongzhi (Annals of Fujian) compiled by Chen Dao during the Hongzhi era of the Ming dynasty, it is noted: "Zhu Bu, made from spun ramie, is called Xiabu when the yarn is fine and round; mixed weaves are called Jian Si Bu."
The name "Xiabu" is attributed not only to its association with the cultural heritage of the Huaxia people (an ancient Chinese civilization) but also to its properties that make it ideal for summer wear. Xiabu is known for being crisp, breathable, moisture-absorbing, and heat-resistant, which makes it suitable for wearing in the summer, hence the name "Xiabu" (summer cloth). In the Mao Shi Duoshi (Commentaries on the Book of Songs) compiled by Duolong'a during the Qing dynasty, it is stated: "What is commonly used today as Ge Bu is also known as Xiabu." Additionally, Baidu Baike refers to Ge Bu as Xiabu. This suggests that early Xiabu was specifically a seasonal fabric. The different names used for Xiabu throughout history are still subject to further research, but in this context, the term refers to ramie cloth.
According to the Book of Chen (Biography of Yao Cha, page 351), the Lingnan region had achieved a high level of ramie textile production during the Sui and Tang dynasties. The Annals of Wanzai County from the Tang dynasty noted, "Tender, white, and pure, widely circulated in all directions, with merchants gathering in great numbers," indicating the high quality and abundant quantity of Xiabu, which was even used as a tribute.
During the Song dynasty, Guangxi became renowned for its ramie cloth. The Lingwai Daida recorded that in the early Southern Song dynasty, the "Liubu and Xiangbu produced in Guangxi were well-known and traded by merchants far and wide." After the Song and Yuan dynasties, as cotton became more widespread, Xiabu was increasingly used for summer clothing.
In the Qing dynasty, Huang Yuanyou's Method of Cultivating Ramie stated, "The ramie cloth woven and spun in Yuzhang is the finest in the world," highlighting that Jiangxi had reached its peak in producing fine Xiabu. The Annals of Rongchang County (Guangxu Ninth Year) recorded that during this period, with the influx of immigrants from Huguang, "Ramie was planted throughout the villages, with the sound of looms filling the air," and Rongchang Xiabu reached an annual production of over 700,000 pieces. During this stage, Xiabu was exported overseas.
By the Republican era, according to the Annals of Wanzai County (Volume 17, "Three Major Specialties," Chapter 2 "Xiabu"), the annual production of Xiabu reached tens of thousands of rolls. However, the outbreak of war and Japan's imposition of high tariffs severely restricted Xiabu imports, dealing a significant blow to the market. As a result, farmers began replacing ramie with tea plants, and with the impact of industrialization, the Xiabu industry went into decline.
Current Development of Handmade Xiabu：
1. Challenges Facing Handmade Xiabu Production Loss of Craftsmanship and Lack of Successors:
The traditional techniques used in Xiabu production are gradually disappearing, and the knowledge is being lost due to a lack of successors. Ancient texts, such as the Book of Songs, mention methods like "retting ramie in the pond at the eastern gate," which involved natural fermentation for degumming ramie fibers—a process that is now rarely seen in the four major Xiabu production regions in China. In earlier times, the Xiabu produced in Liuyang would be washed in the waters of the Liuyang River, resulting in cloth that became lighter, softer, and whiter with wear. However, such traditional processes are gradually vanishing in modern society.
The simplification of the Xiabu weaving process has also contributed to the decline in quality. Factors such as coarse ramie processing, a shortage of skilled spinners, and the use of chemical sizing agents have led to final products that are rough and stiff, causing discomfort when worn—qualities that fall far short of the fine craftsmanship achieved in ancient times. Additionally, many young weavers are unwilling to engage in the painstaking and low-paying work required for Xiabu production, while older artisans find it increasingly difficult to continue due to their age. This has resulted in a shrinking workforce, which in turn has led to a contracting market. As the market narrows, unscrupulous traders have taken advantage, flooding the market with inferior products, leading to a decline in prices and a further reduction in quality, creating a vicious cycle.
While some companies in Hunan, such as Huasheng Group and Dongting Lake Hemp Industry, have developed a relatively mature ramie production chain, the Xiabu they produce is mostly machine-spun. This involves breaking down the long fibers of ramie into shorter ones, similar to cotton, to create a softer and more wearable yarn. Some Xiabu is also blended with cotton, rayon, or synthetic fibers to alter its texture and decorative properties, or dyed to create a variety of products. However, these processes often strip Xiabu of its original characteristics, making it difficult to distinguish from synthetic fabrics.
1.2 Low Added Value of the Xiabu Industry:
Although the traditional craft of handmade Xiabu weaving is still preserved in China, the Xiabu industry remains in the low-end market. The raw fabric produced is often exported at low prices. However, the cultural and artistic value of Xiabu has garnered appreciation in countries like Japan and South Korea. In Korea, for instance, imported Xiabu is used to make Hanbok (traditional Korean clothing), with some outfits costing thousands or even tens of thousands of dollars. Wearing Hanbok made from Xiabu during festivals is considered a symbol of status. Hansan Xiabu in Korea is particularly famous, and an annual Ramie Xiabu Cultural Festival showcases the local craftsmanship. In Japan, Xiabu is also highly valued. Many Japanese fabric merchants have a deep appreciation and respect for Xiabu, often visiting production bases in China to purchase Xiabu, which they then soften, dye, and process further before selling at prices many times higher than the original value. This highlights the stark contrast in how Xiabu is valued domestically versus internationally.
1.3 Outdated Consumer Perceptions:
In China, public perception of ramie remains outdated, often associated with mourning attire, as ramie has historically been used in funerary garments. This association has led to a belief that ramie carries inauspicious connotations, which has hindered the adoption of Xiabu for everyday wear. Additionally, consumer preference in China leans heavily towards silk and cotton products, and the cultural significance and superior qualities of Xiabu have not been widely recognized or promoted. Consumers often confuse ramie with other types of bast fibers like hemp and flax, leading to a lack of demand and further contributing to the industry's decline.
Ramie, known for its rapid growth and long single fibers, contributes significantly to the key characteristics of Xiabu, making it a fabric that is both durable and structurally firm. The fineness of the ramie fibers determines the precision and quality of the Xiabu fabric. Ramie fibers are distinguished by a central channel with porous walls, giving the fabric a breathability that is approximately three times higher than that of cotton fibers. Additionally, ramie contains elements such as nicotinamide, pyrimidine, and purine, which have been shown to inhibit the growth of bacteria such as Staphylococcus aureus, Pseudomonas aeruginosa, and Escherichia coli. This imparts Xiabu with unique properties such as being resistant to bacteria, mold, and decay【4】.
The functional characteristics of Xiabu are closely related to the traditional process of hand-spinning ramie yarn. The technique of spinning, which originated from rope-making, is a critical step in converting ramie fibers into yarn. This process not only successfully transforms the long fibers of bast plants into yarn but also preserves the original luster and stiffness of the fiber surface without compromising the internal cavity structure of the ramie fibers. The high cohesion strength of the fibers results in a fabric that is extremely strong, wear-resistant, and corrosion-resistant, thus offering high practicality.
Furthermore, the way the yarns are joined during the spinning process creates the distinctive texture of Xiabu, enhancing both its functional and aesthetic qualities. This texture, born out of the skillful hand-spinning of the fibers, quickly integrated into the daily lives of the people. Over thousands of years, despite the changes brought about by advancements in technology and the evolution of textile machinery, the hand-spinning of ramie has retained its manual nature, preserving the traditional warmth and craftsmanship that define Xiabu.
Characteristics of Handwoven Xiabu Fabric:
Traditional handmade Xiabu is a handwoven plain weave fabric constructed from warp and weft yarns. The ramie yarn, spun with varying degrees of fineness, results in Xiabu fabric that serves different purposes depending on its quality—finer weaves are used for clothing, while coarser weaves are used for items like curtains. This versatility has made Xiabu beloved by people in various countries.
During my research, I found that handwoven Xiabu from regions like Liuyang in Hunan and Wanzai in Jiangxi is particularly rich in patterns, which can be broadly categorized into fine patterns, coarse patterns, dyed patterns, and textured patterns. From Jiangxi’s Xiabu merchant, Master Xin, I obtained hundreds of fabric samples woven in Wanzai over the past 40 years. These samples can be generally classified into plain weave, dyed pattern, and textured categories.
The variations in climate, weaving tension, and even the weaver’s mood can all influence the fabric’s appearance, resulting in a diverse range of expressions. Handmade Xiabu is naturally simple and harmonious, reflecting the weaver's connection to nature, where each piece of fabric becomes a new chapter in the ongoing story of textile craftsmanship.
In ancient times, a woman's engagement in handicrafts, including weaving Xiabu, was seen as a sign of virtue and industriousness, which led to Xiabu being affectionately referred to as "Lady's Cloth" or "Nüzi Bu." While women were traditionally the primary weavers, by the modern era, both men and women were involved in Xiabu production, with clearly defined roles and a strong sense of cooperation.
However, with the rapid development of the economy, improvements in living standards, and the impact of modern production technologies, the traditional small-scale agrarian economy that supported Xiabu production has largely dissolved. This makes handmade Xiabu all the more precious, as it represents a cultural heritage that faces the challenge of being preserved and passed on to future generations. The task of safeguarding and continuing this tradition is a significant and ongoing responsibility.
By the Song dynasty, Xiabu faced competition from cotton, which led to its specialization as a fabric primarily used for summer clothing. Despite these changes, Xiabu has continued to be used in traditional Chinese clothing, maintaining its significance as a material deeply rooted in China's textile heritage.
Clothing Applications of Xiabu：
Ramie (苎麻) has played a crucial role in the history of Chinese clothing, providing the material necessary for what is traditionally referred to as "cloth garments" (布衣). Historical records indicate that "ancient people first used ramie for cloth; cotton only entered China during the Yuan dynasty. In ancient times, there was no cotton, so all fabric was made from ramie, from ceremonial crowns to everyday attire."【6】This suggests that ramie was the primary fabric for clothing in ancient China.
The significance of ramie in clothing is further highlighted in literary works, such as in the Bai Zhu Ci ("Ode to White Ramie"), which states, "Newly tailored white ramie surpasses red silk, with jade pendants, pearl tassels, and golden hairpins." This emphasizes that ramie was a vital material for making garments. Its affordability, durability, and availability made ramie garments a staple for common people, while the nobility often wore silk, satin, and brocade, which were more likely to be preserved in well-maintained tombs. As a result, ramie clothing is less frequently discovered in archaeological sites, particularly those of higher-ranking individuals.
However, one notable exception is the famous plain gauze robe (素纱襌衣) unearthed from the Mawangdui Han Tomb in Changsha, Hunan Province, in 1970. This robe, dating back over 2,700 years, featured finely woven ramie fabric in its collar and sleeves, demonstrating the advanced textile craftsmanship of the time. Despite the excellent preservation of the Mawangdui tomb, only fragments of ramie fabric were found, indicating the challenges of preserving ramie over millennia.
Non-Clothing Applications of Xiabu
1. The Jiapi Ramie Technique (夹苎工艺):
- Beyond its role as a fundamental clothing material, Xiabu also holds a significant place in the field of arts and crafts. The jiapi (夹苎) technique, which involves layering ramie with lacquer, was invented by the Eastern Jin dynasty sculptor and painter Dai Kui. He discovered that carpenters would use raw lacquer to coat ramie and wrap it around beams to prevent them from cracking. Through repeated experiments, Dai Kui developed China’s first dry lacquer ramie Buddha statue【8】.
- The jiapi technique became renowned for its high degree of creative freedom, allowing for intricate shapes without deformation or cracking. The resulting statues were strong, lightweight, and durable, with some surviving for over a thousand years in pristine condition. A prominent example is the "Thousand-Armed Avalokiteshvara" statue in the Beijing Palace Museum, which was crafted using this dry lacquer ramie technique, showcasing the ingenuity of ancient Chinese artisans.
2. Xiabu Mosquito Nets:
- Xiabu was also traditionally used to make mosquito nets, a practice documented in historical texts. In the Ming dynasty, Song Yingxing's Tiangong Kaiwu ("The Exploitation of the Works of Nature") mentions, "Ramie grows in all soils. It is planted by either scattering seeds or dividing roots, and comes in green and yellow varieties. Harvested twice or thrice annually, it is spun into summer clothing and mosquito nets." This highlights the versatility of Xiabu as it was not only used for clothing but also for functional household items like mosquito nets【9】.
- Even today, Xiabu mosquito nets are commonly found in the collections of folk art enthusiasts. The use of Xiabu for mosquito nets can be traced back to ancient times, as indicated by references in Western Han literature, where the use of coarse hemp fibers for clothing and bedding was common among the poor, who could not afford luxurious silk fabrics.
These non-clothing applications of Xiabu demonstrate the fabric's versatility and its importance in various aspects of daily life and culture in ancient China. Whether in art or practical household items, Xiabu has played a significant role beyond its use as a garment material, reflecting its value and utility in traditional Chinese society.
Ceremonial and Everyday Uses：
Xiabu was not only used in clothing and the arts but also played a significant role in ceremonial practices and everyday life, often symbolizing respect, diplomacy, and practicality.
- Diplomatic Gifts:
- Xiabu was used as a valuable diplomatic gift in ancient times. An example is recorded in the History of Goryeo (高丽史), Volume 134, Biography 47, where it is mentioned that in June of the fifth year of King U's reign, the king said, "The Prime Minister and my late father were like brothers," and he sent 150 bolts of ramie cloth and hemp fabric as gifts to Nahachu's subordinates upon their return【10】. This indicates that ramie cloth was considered a valuable commodity, suitable for fostering political alliances and goodwill between states.
- Wrapping and Packaging:
- Xiabu was also used for practical purposes, such as wrapping and packaging valuable items. In the Astana Cemetery in Turpan, Xinjiang, excavations have uncovered Tang dynasty ramie cloth used to wrap objects【11】. This demonstrates the versatility of Xiabu, not only as a textile for clothing but also as a material for protecting and preserving goods. The use of Xiabu in such a manner highlights its importance in daily life and trade, where its durability and quality were valued for both functional and ceremonial purposes.
These examples illustrate the broader role of Xiabu in ancient Chinese society, where it was utilized in diplomatic exchanges and everyday practices, reinforcing its significance beyond just a fabric for garments. Whether as a prestigious gift or a practical wrapping material, Xiabu played an integral part in the social, political, and economic activities of the time.
Clothing Applications:
1. Ceremonial Attire in Japan and Korea:
- Japan: In Japan, Xiabu is regarded as a high-quality fabric used for special occasions and ceremonial attire. For example, in regions like Yamakoshi, Xiabu is prominently featured in significant festivals and ceremonies. Japanese artisans often purchase Xiabu fabric from China and subject it to advanced processing techniques to enhance its softness and aesthetic appeal. This refined Xiabu is then used to create kimono and other traditional garments, which are highly valued for their elegance and comfort.
- Korea: In Korea, Xiabu has a long history of being used in both mourning and celebratory attire. Traditionally, Xiabu was worn during funerals, with the coarseness of the fabric symbolizing the closeness of the relationship with the deceased—the rougher the Xiabu, the deeper the mourning, signifying the pain of loss as akin to the discomfort of wearing coarse fabric. In modern times, however, Xiabu has transitioned from mourning attire to becoming a prominent material for festive and ceremonial clothing. The quality and craftsmanship of Xiabu garments have significantly improved, making them highly prized in Korea, especially during important celebrations such as the Hansan Ramie Festival.
These examples illustrate how Xiabu continues to be deeply appreciated in both Japan and Korea, not only for its traditional significance but also for its enhanced qualities in modern textile applications. The fabric's role in important cultural ceremonies highlights its enduring legacy and the high regard in which it is held internationally.
In modern times, Xiabu garments have been well preserved and are mostly found in private collections, often maintained by dedicated collectors. The preservation of these garments has allowed for a wide variety of Xiabu fabrics to be studied, showcasing different weights (measured in grams per square meter) and the diverse techniques used in their production, such as dyeing, rolling, and starching.
These techniques give Xiabu a range of appearances and textures, from soft and wearable fabrics to ones that are so refined that they may not be immediately recognized as Xiabu. In Jiangxi, for example, the traditional technique of stone rolling (石碾) is still practiced. This method involves rolling the woven Xiabu fabric with a stone roller, which imparts a glossy, almost oily sheen to the material (as shown in Figure 3.7). This process enhances the fabric’s aesthetic appeal and demonstrates the ingenuity of traditional textile processing techniques in China.
In recent years, various accessory brands have contributed to the revival of Xiabu by incorporating it into their designs, bringing a fresh perspective to this traditional fabric.
- Hats by KREUZZZ:
- The handcrafted hat brand KREUZZZ has introduced a line of Xiabu hats that have gained widespread acclaim. The designer utilizes the natural stiffness of Xiabu to create structured hat shapes, while also embracing the unique textures that emerge after washing the fabric. This combination results in hats that are both stylish and unique, reflecting the natural beauty of Xiabu.
- Footwear by HENG SHU:
- Shanghai-based handcrafted shoe brand HENG SHU has creatively combined Xiabu with vegetable-tanned leather strips to produce distinctive Moroccan-style slippers. By leveraging the complementary colors of Xiabu and leather, the brand successfully merges two contrasting materials into a cohesive and breathable footwear design that is both cool and comfortable.
- Jewelry by MOUHOO:
- The jewelry brand MOUHOO has integrated natural Xiabu into its designs, pairing the fabric with pearls, 18-karat gold, and other materials to create ripple-like, wave-inspired patterns. The pleated Xiabu contrasts beautifully with the polished surfaces of the jewelry, resulting in pieces that are both natural and full of charm, offering a unique and elegant aesthetic【12】.
These innovative accessory designs demonstrate how traditional Xiabu can be adapted to modern fashion, infusing contemporary products with cultural heritage while exploring new creative possibilities.
Home Decor
Xiabu has found a natural synergy with Chinese tea culture, where its simple and elegant aesthetic aligns perfectly with the serene, contemplative atmosphere of tea spaces. As a result, Xiabu is widely used in the decoration of tea rooms and related spaces. Its applications range from large items like wallpaper and door curtains to smaller accessories such as coasters and paper for painting.
One notable example is "Xianyun Xiabu," a small studio founded in 2013 in Jingdezhen. The studio, established by the founder known as "Sibadao" (四把刀), focuses on the promotion of Xiabu culture, the development of derivative products, and the restoration of traditional Xiabu craftsmanship. The studio's work demonstrates how Xiabu can be integrated into modern home decor, particularly in spaces dedicated to the appreciation of tea, where its natural and minimalist qualities enhance the overall aesthetic.
In recent years, the rise in environmental awareness and renewed interest in traditional culture have led to the use of ramie fibers beyond the realm of clothing. Many artists have turned to ramie as a preferred material for their creative works. One notable example is indigenous craft artist Peng Chunlin, who has innovatively merged tradition with contemporary art using ancient wrapping techniques.
Based on the traditional weaving practices of the Rukai tribe, Peng Chunlin has transformed ramie into home products by wrapping it into over 30 different colors. He views the robust nature of ramie as a symbol of his resilient commitment to preserving culture, seeing the strong ramie cords as a metaphorical umbilical cord connecting tradition with modernity. Through his craft, Peng Chunlin aims to shape a new future for his tribe, using art to reflect both their cultural heritage and their evolving identity【13】.
Additionally, Kim Hyo-jung’s patchwork piece was also featured in the "Seeing the Truth in the Small: An Exploration of Fiber Arts in Taiwan, Japan, and Korea" exhibition in Taiwan. The work combined delicate, white Xiabu with natural textures of varying brightness, creating an elegant and clean composition that beautifully complemented the patchwork technique, showcasing the timeless beauty of traditional craftsmanship (as shown in Figure 3.15).
Designers remain captivated by the cultural and aesthetic qualities of Xiabu, leading them to experiment with ways to integrate the fabric into modern fashion. They often seek to balance the fabric's unique texture and historical significance with the demands of contemporary fashion, pushing the boundaries of what can be achieved with traditional materials like Xiabu. This ongoing exploration reflects a deep respect for heritage and a desire to preserve and elevate traditional crafts within the modern fashion industry.
Flat Cutting Techniques：
One of the challenges with handmade fabrics, including Xiabu, is their narrow width. Handmade Xiabu produced in the Xiang, Gan, and Yu regions is typically woven using waist looms, where the manual shuttle process is limited by the reach of the weaver's arms. As a result, the fabric produced on waist looms generally has a width of only 30-60 cm. In some areas of Chongqing, higher looms are used, where the shuttle is propelled by a hand-pulled rope, allowing the fabric width to reach up to 100 cm.
To address the narrow width of Xiabu, designers often employ flat cutting techniques. By designing garments with straight cuts, they can effectively manage the limitations of Xiabu’s width while minimizing fabric waste. This method not only optimizes the use of the narrow fabric but also incorporates the excess material created by the straight cuts into the design, forming decorative pleats and folds that enhance the garment's aesthetic (as shown in Figure 3.16). This approach allows for creative and functional use of Xiabu, turning a potential limitation into a design feature.
The natural color of Xiabu, woven from ramie fibers, typically has a slight yellowish hue. When dyed with natural plant-based dyes, the fabric takes on a soft, understated elegance, with colors that are subtle yet harmonious with the fabric’s texture. This natural dyeing process enhances the fabric's aesthetic, creating hues that are both serene and modest.
Designer Dooling, who founded her design studio "DIGEST" in Beijing, has been exploring this natural dyeing process. In collaboration with artisans in Yunnan's Weixi County, Dooling incorporates natural plant and mineral dyes directly into the fabric development, a technique she refers to as "fixed dyeing." Her designs are characterized by distinct silhouettes that create a sense of "volume" between the garment and the body, reflecting her interpretation of Eastern aesthetics (as shown in Figure 3.17).
Similarly, the "Xianyun Xiabu" studio has also introduced Xiabu dyed with plant-based colors, which they have applied to products like sun umbrellas. These umbrellas feature clean, translucent colors that are both beautiful and delicate, demonstrating the potential of naturally dyed Xiabu in modern, practical applications.
Zhang Yichao, one of China's top ten fashion designers, has boldly experimented with color by interweaving Xiabu with intricately crafted lace. This combination creates a vibrant and colorful world of Xiabu, showcasing the designer's innovative approach to blending traditional materials with modern design elements. Zhang’s work also features extensive use of appliqué, hand embroidery, and other artisanal techniques, which add depth and texture to the garments.
The designs are further enriched by dynamic natural motifs such as flowers, birds, and dogs, which closely align with the core creative themes of ecology, nature, and environmental sustainability. This thoughtful integration of natural patterns with the vibrant colors and textures of Xiabu enhances the overall atmosphere of the collection, making it not only visually striking but also thematically coherent with a commitment to eco-friendly fashion.
Graduation Design Practice
In April 2018, the author conducted a field study in Liuyang, Hunan, engaging in in-depth discussions with weaving expert Master Tan. During this time, the author became familiar with the Xiabu production process, learned about weaving tools, and shared samples of finished fabrics. Later, in August of the same year, the author participated in the Sichuan Fine Arts Institute's National Arts Fund project titled "The Fashion Expression of Traditional Materials—Innovation and Reinvention of Rongchang Xiabu." This experience highlighted the advantages of courses offered by art schools based on local culture, and it also underscored the significant role that folk artisans play in preserving traditional craftsmanship.
According to historical records, before the stripping process, the ramie was typically soaked in water, a practice mentioned in the *Book of Songs*: "The pond by the east gate, where ramie is retted." However, during my research in Hunan and Chongqing, I found that the retting process is no longer commonly practiced. The quality of Xiabu is largely determined by how the ramie fibers are processed, including the timing of the harvest, the cleanliness of the stripping process, and the bleaching and fumigation methods used afterward.
Traditional fumigation methods include carbon fumigation and sulfur fumigation. For sulfur fumigation, the stripped ramie is placed on a bamboo cover and fumigated with sulfur below, covered with a plastic sheet. After a few minutes, the fibers naturally whiten. In places like Japan, the snow-bleaching method is also popular for whitening fibers. In more recent times, the CMC chemical bleaching method has become prevalent.
The traditional starching process involves brushing rice starch onto the warp threads using a brush, making the ramie fibers smoother, more durable, and easier to weave. The rice starch is typically prepared by boiling rice, with careful attention paid to its consistency and cooking time. The timing and climate are also considered during the starching process. Historical records indicate that areas known for producing high-quality, white Xiabu, such as Wanzai and Liuyang, had access to high-quality water sources suitable for bleaching ramie. However, due to environmental pollution and changes in urban and rural areas, today's conditions are vastly different from those of the past, making it difficult to recreate the exquisite Xiabu of ancient times.
Xiabu is woven from warp and weft threads, and the reed (筘) used in the weaving process acts as a thread separator. The threading process is intricate and requires great patience and precision, with the phrase "丝丝入扣" (silk threads fitting perfectly into place) originating from the threading process, describing meticulous and orderly work. Once threaded, the fabric is woven using a loom. Most existing handmade Xiabu is produced on waist looms, which can only weave fabric with a width of about 30-60 cm. The weaving process is complex and requires coordinated physical effort: the waist must exert force, the legs must tread up and down, and the shuttle must be carefully coordinated with the threads. The hands guide the reed while catching the shuttle as it flies back and forth, requiring full-body coordination.
In Chongqing, there are still high looms in use, where the manual shuttle process is replaced by a pulley system, allowing the fabric to be woven with a width of about 90-100 cm. The humid climate and beautiful landscape of the Xiang, Gan, and Yu regions, combined with the dedicated artisans nurtured in these environments, contribute to the rich textile craftsmanship that produces Xiabu.
In Chongqing, various entities are actively involved in promoting Xiabu, including the Rongchang Intangible Cultural Heritage Cultural Park, the China Xiabu Fashion Town, Yiqiutang, Sichuan Fine Arts Institute, and numerous folk artisans. These organizations and individuals are all contributing to the preservation and revitalization of the Xiabu tradition, ensuring that this ancient craft continues to thrive in modern times.
One significant issue is the inability to control quality from the source due to market-driven interests, leading to a lack of standards for high-quality Xiabu. Another challenge is the incomplete degumming process, which results in the fabric causing itching, making it unsuitable for wearable applications. Addressing this issue requires not only the efforts of designers and inheritors but also the involvement of interdisciplinary research, including contributions from the fields of science and engineering. However, for those with a background in bioengineering, it is often difficult to devote time and resources to folk art research, with funding and manpower being major challenges.
At the same time, through in-depth research on Xiabu, I discovered its limitations as a wearable fabric in terms of design and comfort. However, this exploration also helped me develop a deeper understanding of handmade materials, laying a solid foundation for my graduation design practice.
Therefore, my graduation design is themed "Symbiosis," inspired by the Japanese director Hirokazu Kore-eda's film *Shoplifters*. The film tells the story of six unrelated individuals who form a utopian family, critiquing traditional biological relationships, and highlighting the need for symbiosis that underpins these imagined connections. Symbiosis is a fundamental, unspoken agreement that governs relationships between humans and nature, and between people. It represents a pure, unadorned state of existence.
To express the primal state of symbiosis, I chose Xiabu—a natural textile that is born from the earth and can return to it. This choice reflects the original relationship and way of life between humans and nature: zero pollution, zero infringement, and harmonious coexistence.
The graduation design series includes seven outfits, spanning from spring and summer to fall and winter, and is positioned as high-end women's wear. The target audience is knowledgeable women aged 30 to 45 who possess a sharp international perspective and a broad interest in the arts. These women have a certain level of economic capability and cultural awareness; they value the deeper meaning of clothing and seek a unique wearing experience. They also have their own distinct understanding of fashion.
Phase 1: Simulated Xiabu Expression
In this initial phase, the traditional aspects of Xiabu were set aside, allowing the author to express personal impressions of the fabric through simulated phenomena. This involved creating experimental pieces that reflected an intuitive and abstract understanding of Xiabu, ignoring its conventional characteristics.
Phase 2: Non-Xiabu Experiment
The central question of this phase was how to adapt traditional materials to meet contemporary demands, a common challenge in the preservation of intangible cultural heritage. The author interpreted modernity as a process of rebellion, coolness, trendiness, and breaking conventional thought patterns, leading to a series of reverse experiments. For example, the stiffness of Xiabu was exaggerated to the point of hardness, making the warmth of the handmade material feel cold and distant. This was achieved by combining Xiabu with materials like tin foil, which also have a metallic appearance, to evoke a sense of alienation. Additionally, while most consider how Xiabu could be used externally, the author questioned whether it could serve as an internal support material. For instance, could the lapel of a suit, which often needs structure, be supported by the stiffness of Xiabu? Throughout this phase, the author experimented with various techniques such as restructuring, segmenting, extracting, layering, plastic sealing, scorching, folding, and unraveling.
Phase 3: Returning to Xiabu
Following the material experiments in the previous phases, the author realized that the goal should be to explore the inherent properties of Xiabu rather than avoid them. Understanding traditional materials requires a deep appreciation of the cultural attributes behind them. As a textile material, Xiabu must retain the fundamental characteristics of fabric. The author attempted to combine Xiabu with similarly historical and rugged materials, such as fur. While the soft and hard contrast between Xiabu and fur appeared visually appealing, the combination felt mismatched and obscured the distinctive qualities of Xiabu in the experimental samples.
The true essence of Xiabu lies in its handmade nature, with its core feature being the creation of threads from ramie fibers. Recognizing this, the author deconstructed the material into smaller components, using handmade ramie threads of varying thickness as the subject of study. The focus then shifted to weaving as an innovative process, with the author conducting simulated fabric-making experiments to experience the transition from thread to fabric. This involved exploring different methods of fabric construction and considering the various possibilities for transforming ramie threads into textiles.
As a participant in the National Arts Fund project titled *The Fashion Expression of Traditional Materials—Innovation and Reinvention of Rongchang Xiabu, organized by Sichuan Fine Arts Institute, we were provided with fabric samples of various specifications. These samples were distributed to allow us to experience firsthand the changes and characteristics of Xiabu fabric. The purpose was to help us understand how different variations in the material could influence its texture, flexibility, and overall suitability for modern fashion design. This hands-on approach enabled participants to explore the potential of Xiabu in innovative ways while appreciating its traditional roots.
Through the folding and flower experiment, I explored the tension and shaping ability of Xiabu with varying levels of precision and material composition. The experiment revealed how different textures and colors interact with the fabric's tightness and elasticity, showcasing the contrasts in these properties across different types of Xiabu.
The inherent stiffness of Xiabu proved to be advantageous in achieving well-defined shapes and decorative effects during folding. However, while the folding technique successfully highlighted the fabric's structural qualities, it also resulted in a loss of spatial depth. The overly literal shapes created through folding made it challenging to express the subtle beauty of Eastern materials, as the rigid forms lacked the fluidity and abstract quality often associated with traditional Eastern aesthetics.
Experiment 2: Reducing Skin Irritation from Xiabu through Fusing, Coating, and Layering
This experiment explored various techniques to reduce the discomfort caused by Xiabu’s coarse texture when in contact with the skin, including the use of interfacing, composite materials, and coatings. The goal was to alleviate the itching sensation while maintaining the fabric's desirable characteristics.
1. Combining Xiabu with Interfacing of Different Thicknesses:
Process: Different grades of Xiabu were fused with interfacing of varying thicknesses.
Result: The combination made the Xiabu more rigid and substantial. The itching sensation was significantly reduced when the fabric came into contact with the skin. However, this also resulted in a matte finish on the surface of the Xiabu, reducing its breathability and making the previously lightweight fabric feel heavier and less airy.
2. Fusing Xiabu with Tin Foil:
Process:Xiabu was combined with solid sheets of tin foil to explore the effects on the fabric’s texture and durability.
Result:When fused with intact tin foil, the characteristics of Xiabu were completely obscured, with the foil enhancing the fabric's strength but dominating its appearance. However, when the tin foil was torn and then fused with Xiabu, the resulting texture was more visually appealing, with the contrast between the metallic sheen of the foil and the natural fibers of Xiabu creating an attractive pattern.
3. Combining Xiabu with Plastic Film:
Process:Xiabu was layered with plastic film to reduce skin irritation.
Result:The plastic film effectively improved the comfort of Xiabu against the skin, reducing the prickly sensation. However, the high temperature required for fusing caused the plastic film to deform, which negatively impacted the fabric’s aesthetic appeal. Additionally, the process of combining large sections of Xiabu with plastic film proved challenging in practical application.
4. Rubbing Xiabu with Sandpaper and Layering with Cotton Fleece:
Process:Xiabu was rubbed with sandpaper to reduce surface roughness and then layered with cotton fleece.
Result:Sandpapering softened the surface of Xiabu, alleviating the itching sensation. When combined with cotton fleece, both the comfort and tactile qualities improved significantly. The texture became more pronounced, and the fabric felt more pleasant to the touch. However, this process also caused some surface damage to the Xiabu, affecting its overall durability and integrity.
Conclusion:、
Experiment 2 demonstrated that while these techniques can reduce the discomfort associated with Xiabu, they often come with trade-offs in terms of the fabric’s breathability, appearance, or integrity. The results provide valuable insights into the challenges and possibilities of adapting traditional materials like Xiabu for modern use, particularly in fashion design where comfort and aesthetic appeal are paramount.
Experiment 3: Knitting on Xiabu with Bold, Rustic Impressions
Inspired by the rough, untamed, and non-delicate nature of Xiabu, I associated its texture with the cracked surface of dried earth and the eroded landscapes formed over thousands of years. Using this as a conceptual basis, I employed thick yarn and a large crochet hook as tools to sketch and simulate these surface patterns directly onto the Xiabu fabric.
Process:
Concept: The goal was to create a visual representation of natural earth textures, such as cracks and grooves, by knitting bold patterns onto the Xiabu.
Execution: Thick, coarse yarns were used to crochet rugged patterns onto the fabric, mimicking the appearance of cracked earth or ancient, weathered landscapes. The large crochet hook enabled the creation of oversized, pronounced textures on the Xiabu.
Observations:
Fabric Rigidity: The experiment highlighted the inherent stiffness of Xiabu. The rigidity, a result of the tightly interwoven warp and weft threads, made it challenging to control the curvature and flow of the knitted lines.
Spatial Dynamics: When the Xiabu was placed in a diagonal (bias) orientation, it exhibited the strongest sense of spatial depth and dimensionality. The interplay between the fabric’s rigidity and the knitted patterns created a dynamic, almost three-dimensional effect, emphasizing the rough and untamed aesthetic.
Conclusion:
The experiment successfully captured the rugged, earth-like textures on Xiabu, highlighting its ability to convey a raw, natural beauty. The difficulty in controlling the curves of the knitting due to Xiabu's inherent rigidity also added to the fabric’s character, reinforcing its association with natural, unrefined landscapes. The experiment demonstrated that while Xiabu’s stiffness poses challenges, it can also be leveraged to create unique, spatially dynamic effects in textile design.
1. Crochet Experiment:
Process: The hand-spun ramie yarns used in this experiment have many joint sections, which made the yarn prone to splitting and breaking, especially when the yarn was bent during crochet. However, crochet techniques offer a rich variety of stitches and create a strong textural effect. The relationship between dense and loose areas in the crochet fabric provided a strong contrast, with the crochet gaps being larger than those in plain-woven fabric, resulting in a relatively softer texture.
Results:
Fine Ramie vs. Coarse Ramie:I experimented with crocheting lace patterns using both fine hand-spun ramie and coarser ramie rope. The larger open spaces in the lace patterns helped reduce the density of the ramie, making the fabric more aesthetically pleasing while also achieving a degree of softening. The fine ramie was softer and more visually appealing, but the crochet process was more challenging and prone to yarn breakage. To mitigate this, I found that soaking the yarn in water during crocheting reduced the likelihood of breakage. On the other hand, crocheting with coarse ramie was easier, but the results were less visually appealing, and the fabric resembled ordinary rope, failing to showcase the unique qualities of ramie.
2. Crocheting Ramie with Fur:
Process:In another experiment, I combined ramie with fur in the crochet process.
Results: The combination produced a strong textural effect, with a highly decorative appearance. However, the fur dominated the composition, making it difficult for the unique qualities of the Xiabu (ramie fabric) to stand out. The fur's overwhelming presence overshadowed the ramie, reducing the effectiveness of the material's intended expression.
Conclusion:
The crochet experiments highlighted both the potential and the challenges of working with hand-spun ramie in combination with other materials. While fine ramie produced more delicate and visually appealing results, the process was technically demanding. Coarse ramie, while easier to work with, did not fully exploit the material's strengths. When combined with fur, the ramie fabric's distinct qualities were often overshadowed, suggesting that a more balanced approach is needed to fully integrate and highlight the properties of each material.
1. Crochet Experiment:
Process:The hand-spun ramie yarns used in this experiment had many joint sections, which caused the yarn to split and break easily, especially when it was bent during the crochet process. However, crochet techniques offer a rich variety of stitches and create a strong textural effect. The interplay between dense and loose areas in the crochet fabric provided a striking contrast, with the crochet gaps being larger than those in plain-woven fabric, resulting in a relatively softer texture.
Results:
Fine Ramie vs. Coarse Ramie:I experimented with crocheting lace patterns using both fine hand-spun ramie and coarser ramie rope. The larger open spaces in the lace patterns helped reduce the density of the ramie, making the fabric more aesthetically pleasing while also achieving a degree of softening. The fine ramie was softer and more visually appealing, but the crochet process was technically challenging and prone to yarn breakage. To mitigate this, I found that soaking the yarn in water during crocheting reduced the likelihood of breakage. On the other hand, crocheting with coarse ramie was easier, but the results were less visually appealing and resembled ordinary rope, failing to showcase the unique qualities of ramie.
2. Crocheting Ramie with Fur:
Process:In another part of the experiment, I combined ramie with fur in the crochet process.
Results:This combination produced a strong textural effect, with a highly decorative appearance. However, the fur dominated the composition, making it difficult for the unique qualities of the Xiabu (ramie fabric) to stand out. The overwhelming presence of the fur overshadowed the ramie, reducing the effectiveness of the material's intended expression.
Conclusion:
The crochet experiments highlighted both the potential and the challenges of working with hand-spun ramie in combination with other materials. While fine ramie produced more delicate and visually appealing results, the process was technically demanding. Coarse ramie, while easier to work with, did not fully exploit the material's strengths. When combined with fur, the ramie fabric's distinct qualities were often overshadowed, suggesting that a more balanced approach is needed to fully integrate and highlight the properties of each material.
1. Comparison Between Hand-Spun Ramie and Machine-Spun Ramie:
Hand-Spun Ramie: Using large, coarse knitting needles, the hand-spun ramie yarn produced a visually appealing texture with a distinct, free-flowing pattern. The knitting resulted in a more feminine and fluid fabric, but the process required frequent spraying of the yarn with water to keep it moist and prevent breakage. The texture of the knitted fabric was less defined, creating a softer and more organic look.
Machine-Spun Ramie:The machine-spun ramie yarn created a fabric that visually resembled cashmere, though the touch still revealed the raw, slightly rough quality of ramie. The hand-knitted sample of machine-spun ramie maintained a more structured and firm feel compared to cashmere, reflecting the inherent qualities of the ramie material.
2. Comparison Between Hand-Woven and Machine-Woven Fabrics Using Machine-Spun Ramie:
Hand-Woven Fabric: The hand-woven fabric created from machine-spun ramie exhibited a natural unevenness, giving it a more organic and authentic appearance. This unevenness contributed to a visual texture that felt more alive and less controlled.
Machine-Woven Fabric: In contrast, the machine-woven sample was uniform and smooth, producing a flatter, more consistent fabric. While the texture still retained some of the roughness characteristic of ramie, the overall visual effect was less distinctive and somewhat ordinary.
Conclusion:
This experiment demonstrated that hand-spun and hand-woven ramie fabrics tend to have more character and visual interest compared to their machine-spun and machine-woven counterparts. The hand-crafted samples emphasized the natural, raw beauty of ramie, whereas the machine-processed fabrics, although more uniform, lacked the same level of visual and tactile richness. The results suggest that for designs where texture and authenticity are key, hand-processing methods may be more desirable, while machine processing might be preferred for more refined and consistent outcomes.
My earliest memories of knitting are associated with the sweaters my mother made, where knitting was a direct expression of warmth and affection—a way for one generation to pass on their hopes and care to the next. In this experiment, I used both machine-spun ramie and hand-spun ramie to create multi-strand knitted fabrics, aiming to enhance the thickness and weight of the material.
Machine-Spun Ramie:The fabric produced with multi-strand machine-spun ramie was smooth and even, with an appearance similar to that of conventional knitted fabrics. While the texture was visually consistent, the touch still retained the characteristic stiffness and firmness of ramie, distinguishing it from other materials like cotton or wool.
Hand-Spun Ramie:The multi-strand knitting with hand-spun ramie resulted in a fabric with rich and natural textural variations. The thicker weave created a more stable structure compared to single-strand knitting, and the texture was notably more complex and organic. This method produced a fabric that felt more connected to its traditional roots, with each stitch reflecting the unique qualities of the hand-spun yarn.
Conclusion:
The thick weaving experiment highlighted the differences between machine-spun and hand-spun ramie in multi-strand knitting. While the machine-spun yarn produced a more uniform and polished fabric, the hand-spun yarn resulted in a richer, more textured material that offered greater stability and a more natural aesthetic. This experiment demonstrates the potential for creating heavier, more substantial fabrics using traditional materials, bridging the warmth of personal memory with the durability and strength of ramie.
Experiment 7: Knitting Combined with Weft Replacement
1. Crocheting Hand-Spun Ramie into Braided Cords and Integrating with Wool Yarn:
Process:In this step, I crocheted hand-spun ramie yarn into small braided cords. These cords were then woven into a plain knit fabric using wool yarn, resulting in an irregular surface texture. The final fabric had a distinctly handcrafted look and was visually appealing. However, the process was extremely time-consuming and labor-intensive, making it difficult to scale up for larger pieces.
2. Inserting Crocheted Ramie Cords into Wool Knit Fabric:
Process:I took a sample of knitted wool fabric and inserted the crocheted ramie cords into it. The purpose of using crocheted ramie cords was to enhance the irregular surface texture and improve the grip between the ramie and the wool yarn. Additionally, this technique increased the diameter of the ramie cords, effectively filling the gaps in the wool knit fabric.
Result: The combination of ramie and wool created a fabric with a unique texture and structure. The ramie cords added a rough, natural feel to the soft wool, resulting in a material that was both visually interesting and functionally robust.
3. Knitting Fine Hand-Spun Ramie Yarn with Cashmere Weft:
Process: I knitted fine hand-spun ramie yarn into a smooth fabric and used single-strand cashmere yarn as the weft. The result was a fabric that was both beautiful and decorative, with excellent wearability. However, the process of knitting with fine ramie yarn was highly challenging due to its delicate nature.
Result: The final fabric had an elegant appearance, with the softness of the cashmere complementing the natural texture of the ramie. This combination resulted in a luxurious material that was suitable for high-end fashion applications, though the difficulty of knitting with fine ramie yarn made the process demanding.
Conclusion:
The knitting combined with weft replacement experiment demonstrated the potential for creating complex and visually rich fabrics by integrating different materials and techniques. Although the processes involved were time-consuming and technically challenging, the resulting fabrics showcased unique textures and enhanced structural qualities. These findings suggest that with careful consideration of materials and techniques, traditional hand-spun ramie can be successfully incorporated into modern textile designs, offering new possibilities for innovative and sustainable fashion.
1. Crocheting Hand-Spun Ramie into Small Braided Cords and Integrating with Wool Yarn:
Process: I began by crocheting hand-spun ramie yarn into small braided cords. These cords were then interwoven with wool yarn to create an irregular plain weave fabric. The fabric displayed a distinct handmade aesthetic, which was visually appealing. However, the process was highly time-consuming and labor-intensive, making it difficult to scale up for larger applications.
2. Integrating Crocheted Ramie Cords into Wool Knit Fabric:
Process:I inserted the crocheted ramie cords into a sample of knitted wool fabric. The purpose of this was to increase the irregularity of the surface area, which enhanced the grip between the ramie and the wool yarn. Additionally, the increased diameter of the ramie cords helped fill the gaps in the wool knit fabric more effectively.
Result:This combination resulted in a fabric with a unique texture, where the rough and natural feel of the ramie cords contrasted with the softness of the wool. The fabric had a distinct structure and an interesting visual appeal, making it both functional and aesthetically pleasing.
3. Knitting Fine Hand-Spun Ramie Yarn with Single-Strand Cashmere Weft:
Process:I knitted fine hand-spun ramie yarn into a smooth fabric, using single-strand cashmere yarn as the weft. The result was a fabric that was both beautiful and decorative, with good wearability. However, the process of knitting with fine ramie yarn was particularly challenging due to its delicate nature.
Result:The fabric produced was elegant, with the softness of the cashmere complementing the natural texture of the ramie. This combination provided a luxurious feel and was suitable for high-end fashion applications. Despite the difficulty in working with fine ramie yarn, the outcome was a visually appealing and functional fabric.
Conclusion:
This experiment illustrated the potential of combining knitting with weft replacement to create complex, textured fabrics. The integration of hand-spun ramie with wool and cashmere produced unique and visually rich results, although the process was time-intensive and technically demanding. The findings suggest that this approach can be valuable for innovative textile design, particularly in applications where texture and aesthetic appeal are paramount.
In this experiment, the warp is made of hand-spun ramie, while different weft yarns are used to observe the effects on the fabric. Traditionally, both the warp and weft in Xiabu (summer cloth) are made from hand-spun ramie yarn, resulting in a fabric that is strong and durable. However, to make Xiabu softer and more wearable, the weft yarn is often replaced with other materials.
Challenges with Weft Replacement:
Replacing too much of the weft can lead to a fabric that loses its traditional Xiabu characteristics, making it almost unrecognizable. On the other hand, replacing too little of the weft fails to address the wearability issues, resulting in a fabric that is neither here nor there.
Example with Velvet:
When velvet is used as the weft, its coarse yet soft texture adds a distinct luster to the fabric, especially when viewed from certain angles. The result is a low-key, vintage aesthetic. However, despite the added stiffness, the fabric loses the distinctive ramie texture, making it difficult to recognize it as Xiabu.
Conceptual Inspiration from "Symbiosis":
Drawing inspiration from the theme "Symbiosis," which extends to the relationship between ramie and Xiabu in monk robes and lacquered ramie Buddha statues, the experiment explores the integration of gold thread elements from monk robes with hand-spun ramie.
The boucle yarn of alpaca, with its fibrous, twisted, and continuously looped texture, symbolizes the Buddhist concept of reincarnation, representing the continuity of life. This mixture not only brings softness but also a rich, aged texture.
The experiment embraces the idea that "symbiosis" reflects the cycle of life and the passage of time, avoiding the appearance of something "brand new." The white, linear alpaca wool yarn is likened to tree rings or the folds in a Buddha statue's robe, weaving through the freshly unearthed ramie, giving the ramie-alpaca blend fabric a narrative quality that adds a feminine softness to the strong silhouette of the Xiabu.
This experiment demonstrates the creative exploration of combining traditional ramie with various weft materials to achieve a balance between maintaining the essence of Xiabu and enhancing its wearability and aesthetic appeal.
Experiment 9: Post-Treatment of Different Blended Fabrics
In this experiment, the focus is on the post-treatment of blended fabrics containing Xiabu (ramie) to improve their wearability. Although changing the weft during weaving can reduce the stiffness of Xiabu, it often does not sufficiently improve its wearability. Due to limitations in the field of biological research, the experiment primarily explores the physical methods of softening the fabric.
Challenge with Stiffness:
Traditional Xiabu fabric is known for its stiffness, which poses a challenge for its use in clothing. Despite efforts to soften the fabric by altering the weft, the results often fall short of achieving the desired softness for comfortable wear.
Softening through Water and Heat:
Xiabu has a natural tendency to soften when exposed to water. After weaving, the fabric is soaked, resulting in a slippery texture caused by the rice starch used in the sizing process. This slippery feel, however, is temporary and diminishes as the fabric is further processed.
Process of Softening:
The experiment involved repeatedly washing and sun-drying the woven fabric at high temperatures over several months. This prolonged exposure to heat and washing gradually softened the fabric and introduced a new texture.
After removing the starch, the fabric was left to dry in the sun, which lightened the color and relaxed the fibers. Through repeated high-temperature washes, the woven Xiabu fabric began to exhibit a worn, aged appearance.
Outcome and Interpretation:
The softened fabric developed a unique texture that reflected the passage of time and use. The researcher concluded that "use" is the best way to remove the newness of a fabric, as it directly leaves marks and traces on the material. This approach not only improved the softness of Xiabu but also imparted a vintage, well-worn aesthetic that adds character to the fabric.
This experiment highlights the effectiveness of post-treatment processes in enhancing the wearability of Xiabu while also contributing to its aesthetic appeal. The resulting fabric, with its softened texture and aged appearance, becomes more suitable for modern applications, particularly in fashion where both comfort and unique visual qualities are valued.
Due to the coarse and textured nature of alpaca wool fabric, this experiment focuses on comparing the effects of different levels of post-treatment. The processing results for different batches of mixed fabrics under the same environmental conditions showed significant differences. The reason for this variation is analyzed as follows: the differences in processing techniques used by the two batches of weavers.
For Alpaca Wool 1, the fabric was loosened, and after high-temperature washing, it shrank and expanded, filling the gaps in the linen fabric, resulting in a smooth overall appearance. In contrast, Alpaca Wool 2 was woven too tightly. After high-temperature washing, the excessive swelling of the alpaca wool damaged the structure of the warp and weft yarns.
Due to differences in the material properties of warp and weft yarns, their tension and heat resistance vary. In the same environmental conditions, cutting along the warp direction allows for better control and stability of the ramie material, resulting in no significant changes to the fabric. In contrast, cutting along the weft direction, where the warp area is minimal, results in weaker control, poor stability of the weft yarn, and severe deformation. Based on these observations, it is concluded that using different weft yarns in weaving experiments is more effective in maintaining the rigidity of ramie and ensuring the stability of the material.
In this symbiotic relationship, the interdependence of the female role is particularly significant. It reveals a combination of resilience and tenderness, serving as a nurturing presence akin to a bamboo basket holding shoots or straw bundles supporting seedlings, illustrating maternal radiance. Life is a continuum of development, and culture needs life to be passed down. Through the "weaving" process, the author expresses historical continuity.
Therefore, the author chooses to use the original color of handmade summer fabric, presenting it in its natural state without excessive embellishment. This approach allows the work to have a balanced and free-flowing quality. The pursuit is a symbiotic relationship between humans and materials—originating from the land and returning to it. This way, the person wearing the summer fabric can experience a sense of harmony with nature.
The third outfit design features a Chinese-style cross-collar design, combining narrow-width fabric seams with princess seams to create a large silhouette. During fabric sample testing, it was observed that different weaving tensions resulted in varying fabric tightness, causing the ramie warp threads to become exposed and creating a visually appealing black-and-yellow pattern. The softening treatment allowed for natural frayed edges, adding a casual and relaxed touch to the fabric.
In the weaving process, the aim was to achieve different fabric effects using various tensions to complement the stripes in the first two designs. However, due to the variability in manual weaving, the desired results were not fully realized. Additionally, as the third outfit was designed as an outerwear piece requiring a lining, the initial idea of retaining frayed edges was abandoned. The final garment is simple and elegant, successfully creating a large-silhouette outerwear with a Chinese style using narrow-width fabric.
This thesis, combining historical research on summer cloth with practical applications in women's fashion design, summarizes the following key points:
1. Cultural and Historical Significance: Summer cloth represents a pivotal aspect of China's textile heritage, illustrating the sophisticated techniques and craftsmanship of ancient artisans. Its inclusion in the national intangible cultural heritage list highlights its importance and provides a foundation for its continued relevance in modern design.
2. Design Innovation and Application: The integration of summer cloth in contemporary fashion design offers a unique opportunity to blend traditional materials with modern aesthetics. Through various design experiments and fabric treatments, this study demonstrates how summer cloth can be adapted to create innovative and aesthetically compelling garments.
3. Material Properties and Challenges: The research emphasizes the distinctive properties of summer cloth, including its texture, drape, and environmental benefits. Despite challenges related to fabric handling and treatment, summer cloth's natural qualities can be effectively utilized in design to achieve both functionality and visual appeal.
4. Practical Design Outcomes: The practical application of summer cloth in women's fashion has led to the development of several successful design outcomes. By leveraging traditional techniques and exploring new treatment methods, the research has contributed to a deeper understanding of how summer cloth can be used creatively in modern fashion.
5. Future Prospects: The study suggests that continued exploration and experimentation with summer cloth will further enhance its application in fashion design. Emphasizing sustainability and the preservation of traditional techniques while incorporating contemporary design elements will ensure the ongoing relevance and innovation of summer cloth in the fashion industry.
In summary, this thesis underscores the value of summer cloth as both a cultural symbol and a practical material in fashion design. The research highlights the potential for traditional materials to inspire and enrich modern design practices, fostering a deeper connection between historical craftsmanship and contemporary fashion.
2. In this design practice, the author directly collaborated with summer cloth inheritors. By replacing the weft yarns with mixed materials, the author aimed to expand the texture of summer cloth from an innovative weaving perspective, creating special artistic effects. The warp yarns continued to use hand-spun ramie yarn to maintain the robust and crisp feel of summer cloth. Through multiple experiments, the final weft materials included cashmere, alpaca wool, and PET film embroidery threads. This mix not only aligned with the design theme but also introduced variations in fabric thickness, enhanced the thermal properties of summer cloth, and added decorative features.
3. Designing oversized garments with narrow-width fabrics required adapting the design and cutting according to the material characteristics. Due to the limitations of narrow-width fabrics, expressing the inclusiveness of summer cloth in oversized designs was challenging. The author leveraged the characteristics of thin fabrics and utilized the natural texture formed by warp displacement after washing. Splicing and hiding seams within these textures allowed the ramie yarns to support the garment's silhouette, creating a naturally transparent and voluminous effect. After softening treatments, cashmere-mixed summer cloth expanded and filled the gaps between the warp and weft yarns, making the fabric thicker and more compact. Vertical cutting and splicing of the warp yarns helped to enhance the garment's silhouette, resulting in a smooth, aesthetically pleasing, and fashionable overall look.
4. Despite innovative remaking, the practical use of summer cloth remained challenging. The author conducted experiments with different temperatures and strengths of washing and sun exposure to soften the fabric. Various fibers reacted differently to high temperatures and sunlight, resulting in new natural textures. This highlighted the importance of multidimensional presentation for traditional materials in contemporary design. The processing methods for materials should be diverse, allowing consumers to participate in the design of handmade materials while seeking clothing that contrasts with machine production. This approach enables women's fashion to showcase a new personal style through traditional materials.
This design study represents an initial exploration into the application of traditional materials in modern fashion. Due to limitations in time, depth, and scope, several issues still require further investigation:
1. Literary Accuracy vs. Historical Reality: While extensive literature discusses summer cloth, its descriptions are often embellished. Accurate historical and contextual verification is needed to differentiate between early summer cloth being made from ramie or hemp fabric, as literature contains many contradictions. Additionally, research on the traditional garment forms of summer cloth is lacking.
2. Design and Market Issues: Consumers’ limited understanding of summer cloth results in constrained product development styles. The target age demographic for summer cloth consumers is relatively high, and there are currently no design brands focused exclusively on summer cloth women's wear. Determining how to position high-quality summer cloth design and development remains a challenge.
3. Dyeing Techniques: The field of summer cloth dyeing is also a promising area for exploration. Future research could focus on developing new dyeing techniques and their applications to enhance the material's versatility and appeal.
4. Traditional Craftsmanship:The issue of preserving traditional craftsmanship is a profound and complex topic. It is essential for young designers to continue advancing this field. Expanding the possibilities for summer cloth in contemporary fashion is a key way to move beyond traditional perceptions of summer cloth as merely a “mourning garment.” By focusing on the core elements of "hand weaving" and "hand stitching" in summer cloth, this study has aimed to preserve its unique characteristics while imbuing it with a modern design language.
5. Future Directions:It is crucial for the contemporary acceptance of summer cloth to promote a deeper interest in its traditional aspects. The goal is to achieve a symbiotic relationship between traditional and modern summer cloth, reflecting the true essence of cultural heritage preservation.
Future research should continue to explore these areas to contribute further to the application of traditional materials in fashion design.
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