The aesthetics of Edo: iki in a fashion design process

dc.contributorAalto Universityen
dc.contributorAalto-yliopistofi
dc.contributor.advisorLänsisalmi, Riikka
dc.contributor.advisorHyötyläinen, Ilona
dc.contributor.authorYrjänäinen, Kristiina
dc.contributor.departmentDepartment of Designen
dc.contributor.departmentMuotoilun laitosfi
dc.contributor.schoolTaiteiden ja suunnittelun korkeakoulufi
dc.contributor.schoolSchool of Arts, Design and Architectureen
dc.contributor.supervisorHirvonen, Pirjo
dc.date.accessioned2019-09-08T17:00:38Z
dc.date.available2019-09-08T17:00:38Z
dc.date.issued2019
dc.description.abstractThe Aesthetics of Edo, iki in a fashion design process is a two-part thesis consisting of a written component and a productive component, a womenswear collection. Through the theoretical part, I examine the iki aesthetic of the Japanese Edo period and seek to define its key elements for the benefit of the productive component. In the research component I focus on the aspects of iki during the Edo period, 1603-1868, and Shuzo Kuki’s works on the subject, written in 1930. The Edo period was an impactful time in Japan’s history and the development period for iki. In the theoretical part the focus in the literature are the works concentrating on the Edo period culture and society. Alongside the research also visual material of the Edo period clothing and textiles was gathered to support the forming of the collection. This material was paired with visual material of the Korean female divers, Haenyeo. Through these elements, a fashion collection was designed and the process of designing the collection analysed. The goal of this thesis is to explore the iki aesthetic theoretically as a background for a fashion collection and to design a collection based on the research, through the question: “how to combine elements of iki into a contemporary design process?” The focus of this thesis is the creative process and its outcome. My aim was to understand and answer, what is the iki aesthetics; can iki be applied practically to a fashion design process; as well as make the research evident in the design process and final products. Through the theoretical part, my understanding of iki deepened and its meaning within the context of Edo culture and society unfolded. My assumption was, that with enough research iki could potentially be beneficial for a designer as a framework and a deeper look into the research would benefit the productive outcome: the collection. The complexity of the aesthetic made it impossible not to include Japanese historical clothing within the research. This helped to connect the research components together and into a collection. The results of a deeper research were evident in the final collection. The process of the productive part reflects the ideas stemming from the theoretical part and the final womenswear collection is my answer to the research in a visual form.en
dc.format.extent77 + 15
dc.identifier.urihttps://aaltodoc.aalto.fi/handle/123456789/40169
dc.identifier.urnURN:NBN:fi:aalto-201909085205
dc.language.isoenen
dc.locationP1 OPINNÄYTTEET D 2019 Yrjänäinen
dc.programmeFashion, Clothing and Textile Designen
dc.subject.keywordaestheticsen
dc.subject.keywordfashionen
dc.subject.keyworddesignen
dc.subject.keywordtextileen
dc.subject.keywordikien
dc.subject.keywordedoen
dc.titleThe aesthetics of Edo: iki in a fashion design processen
dc.typeG2 Pro gradu, diplomityöfi
dc.type.ontasotMaster's thesisen
dc.type.ontasotMaisterin opinnäytefi
local.aalto.barcode1210015753
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