The hottest dyeing and weaving genius integrating

  • Detail

Dyeing and weaving genius integrating hard metal and soft fiber

"China's fabric industry has never lacked high-end technology. What it lacks is a master of design and lifelong dedication." This is the unanimous speech of all Chinese designers after visiting the works of international dyeing and weaving design master Shunichi Shinai

on September 16, the fabric design exhibition of Shunyi Xinjing was grandly unveiled in Nantong, and the whole design industry was boiling at once

Shunichi Shinai is an internationally renowned master of dyeing and weaving design, and is also the only Asian member of the Royal British Craft Association. In Japan's dyeing and weaving industry, he is known as "the great master of hyperindustrialism" and "the genius of dyeing and weaving industry". While developing new materials and using the most cutting-edge technology for creation, he also attaches great importance to the research and inheritance of traditional crafts. This exhibition highlights a series of works created by Xinjing, allowing us to fully appreciate the charm and beauty of fabrics in his works, and feel the sincere feelings of Xinjing Chun, a contemporary well-known designer from a textile family, towards the textile design industry

the beauty of materials

in addition to the colors and forms intuitively reflected in our eyes, Shinai Chunyi's design also contains the deep cultural spirit existing in the fabric. In his creation, he always blends the concept of combining tradition and modernity, and firmly believes that traditional technology cannot be separated from modern technology. Each of its effects has been verified by a large number of practices in his laboratory, and it is also the crystallization of his decades of experience. He explored all possible new ways to create, emphasizing the excavation of the personality characteristics of different materials. In the field of innovative design of metal fabrics alone, he has 36 patents on techniques for handling metal fabrics

Shinai Shunyi is keen to use the latest technical means to create fabrics, which is reflected in the innovative design field of metal fabrics. At present, he has 36 special oil delivery valve oil return pipe oil-free benefits, which are about the technology of dealing with metal fabrics

he and Bridgestone matterfield jointly researched and developed the production technology of metal fibers. Stainless steel fibers with high strength and wear resistance are woven into fabrics. This kind of stainless steel fiber does not need dyeing, but changes its color through chemical treatment and applying different temperatures. The strength of stainless steel fiber is unmatched by other fibers, and its softness is no less than the traditional yarn known by people. More importantly, the practical application of metal fiber breaks the traditional concept of fiber

Xinjing was the first to use the method of thermal melting - melting the surface metal on the cotton fiber coated with metal film, and then he developed the method of producing a new translucent film fabric after the multi-layer structure of metal film and fiber was melted. Xinjing also tried to weave dyed aluminum wire into polyester fabric to produce a shiny luster

in 1980, he used vacuum evaporation method to coat polyester fiber with aluminum, which can be dyed with various colors. Then, Xinjing successfully used heat transfer printing and heat melt technology to change the original appearance of the fabric. This technology is used in the work "deep sea". The paper with dye is hot pressed to make the color transfer printing on the wrinkled aluminum film polyester fabric, while the folded part still retains the original color of the fabric. This technology of melting and heat transfer printing and dyeing is repeatedly used, It can create colorful decorative effects

Xinjing attaches importance to mining the personality characteristics of different materials. He believes that slight morphological changes in yarn will show various expressions, and there will be different dynamics from different angles. It is noteworthy that there is a crisis in modern textiles, which is that they rely too much on technology and the sense of simplicity, resulting in the reduction of product value. He used natural silk, wool, cotton and other basic elements to create the most natural and essential fabrics, but it was not a simple graphic design, but a three-dimensional form with relief effect

some textile surfaces are extruded, wrinkled, opened or curled, and even damaged to produce unexpected texture effects. For example, Xinjing often deliberately tears or tears the fabric into jagged or fragmented cloth. These accidental natural cracks and breaks convey a kind of non ideal and old emotion. Because the fiber yarn used is the product of contemporary science and technology, the fabric reveals the dialectical relationship between old and new, perfect and imperfect. In Xinjing's eyes, the changes of ordinary fabrics are endless. The creation of fabric form in fabric modeling 1 and 2 is a typical example. He overlapped and interlaced ordinary fabrics and used hot pressing to magically turn the original flat fabric into a rich and personalized artistic image

many similar ingenious ideas are bold practices and reforms based on traditional techniques. He weaves special weaving structures by using two different varieties of warp and weft yarns. In order to obtain the unique creases of the fabric, he used different shrinkage ratios of fiber materials to create the fabric surface with different tension areas of entanglement and relaxation in the textile spinning process. In his design and creation, he does not prefer any of natural fibers or synthetic fibers, but uses their different characteristics to vividly show their personal beauty. Zigzag conversion is a wrinkle shrinking work made of non dyed acetate and rayon. The high twist yarn and post-processing technology realize the wrinkle shrinking of acetate yarn and the texture effect of yarn. In the long run, these exploration on weaving structure and application methods of chemical post-treatment provide new enlightenment for future textile design

master's road

Xinjing focuses on environmental protection and creates large-scale stainless steel fiber art works with the theme of "protecting the earth" to express its wishes. He succeeded in weaving textiles on traditional jacquard looms using natural colored yarns without dyeing and bleaching

Korean radish uses undyed wool to create a three-dimensional texture effect through jacquard technology and felted post-processing method. "Fangping weave" uses cotton yarn that is not bleached and dyed. Through the double-sided knitting process, it produces an unusual and interesting fabric surface, especially when buying meat and aquatic products. The simple color and rich texture together create a noble and elegant quality. He advocated the method of using heat transfer printing and dyeing to create fabrics, because it can be produced without using water, which also meets the requirements of ecological protection

in addition, Shinai Junichi also pays attention to the use of titanium in future experiments. He explains that when titanium becomes an oxide and is exposed to ultraviolet light, oxygen will be released into the atmosphere, and a series of wonderful colors can be obtained by treating the surface of titanium metal

taking a comprehensive view of the innovative road of dyeing and weaving design of shini, we can clearly see the track of the reform of modern textile design. From his design works, it is not difficult to see the accumulation of traditional culture and the magic of science and technology. His design method, like a rainbow bridge, shortens the distance between aesthetics, culture, design and technology

science, in the process of exploring the truth of the universe, is also the source of technological innovation. The innovation of science and technology in design principles, materials and production provides a new way for human beings to express their inner feelings and desires, which is undoubtedly an unavoidable fact that every textile designer needs to recognize in the new century. For example, the extrusion of high-precision silicone pipes, the price of customized injection molded parts is also within the range of customers, and the extrusion of micro tubes. It can be said that in the exploration of more than half a century, the generation of designers represented by Shinai Chunyi have used their creative practice to outline a modern textile design system with close connection between design and technology, which is of great practical significance for the future prospects of textile design

note: the reprinted content is indicated with the source. The reprint is for the purpose of transmitting more information, and does not mean to agree with its views or confirm the authenticity of its content

Copyright © 2011 JIN SHI