Dyeing And Weaving Talents With Hard Metal And Soft Fibers

"China

There is no shortage of high-end technology.

The master is the master of his lifelong devotion.

This is after visiting Nii Junichi, the master of international dyeing and weaving design, all China.

The same sentiment.

In September 16th, Nii Junichi's fabric design exhibition opened in Nantong. At that time, the whole design world was boiling.

Nii Junichi is a famous international dyeing and weaving master and the only Asian member of the Royal Craft Association.

In the Japanese dyeing and weaving industry, he is known as "the giant of super industrialism" and "the ghosts of dyeing and weaving circles".

While developing new materials and using cutting-edge technologies, he also attaches great importance to the research and inheritance of traditional processes.

This exhibition contains a series of works written by Nii, so that we can fully appreciate the beauty of the charm of the fabric in his works, and feel the sincere feelings of Nii Jun, a famous contemporary designer who comes from textile family.

Beauty

Nii Junichi's design not only directly reflects the colors and forms in our eyes, but also contains the cultural spirit deep in the fabric. In his creation, he always conforms to the concept of combining tradition with modernity, and firmly believes that traditional technology can not be separated from modern technology.

Each of his effects has been verified by his extensive practice in the laboratory, and is also the result of his decades of experience accumulation.

He explored all possible new ways to create and emphasized the individuality of different materials.

In the field of innovative design of metal fabrics, he has 36 patents on metal fabric processing techniques.

Nii Junichi is keen on using the latest technology to create fabric, which is embodied in the field of innovative design of metal fabrics. He now has 36 patents dealing with metal fabric technology.

He worked with Bridgestone Matylfi to research and develop metal fiber production technology. High strength and wear-resistant stainless steel fibers were woven into fabrics. Instead of dyeing, the stainless steel fibers changed their colors by chemical treatment and applying different temperatures.

The strength of stainless steel fiber is incomparable with other fibers, and its softness is no less inferior to the traditional yarn that people know everyday. More importantly, the practical application of metal fiber has broken the traditional concept of fiber.

Nii first used the method of hot melt to melt the surface metal on the cotton fiber coated with metal film. Then he developed a new method to produce new plucent film fabric after melting the metal membrane and the multilayer structure of the fiber.

Nii also tried to knit the dyed aluminum wire into polyester fabric to produce sparkling luster.

In 1980, he used vacuum evaporation to deposit aluminum on polyester fibers and dye all kinds of colors.

Later, Nii successfully used the technology of heat pfer printing and thermal melting to change the original appearance of the fabric. The deep sea is using this technology to pfer the dye paper through hot pressing, so that the color pfer is printed on the crepe aluminum film polyester fabric, while the folded laminated part still keeps the natural color of the fabric, which can create colorful and decorative effects repeatedly with the technology of melting and heat pfer printing and dyeing.

Nii attaches importance to excavating the personality characteristics of different materials.

He thinks that a slight change of yarn will show various expressions, and there will be different trends in different angles.

It is noteworthy that there is a crisis in modern textiles, that is, relying too much on technology and simplicity to reduce the value of products.

He uses natural silk, wool, cotton and other basic elements to create the most natural and essential fabric, but not a simple graphic design, but a three-dimensional form with relief effect.

some

The surface of the product is extruded, shrunken, opened or curled, and even with destructive means, it produces an unexpected texture effect.

For example, Nii often intentionally tore or torn the fabric, turning it into jagged or fragmented cloth.

These occasional natural cracks and breakages convey a kind of non ideal and old emotion, because the fiber yarn is the product of modern technology, and the fabric reveals the dialectical relationship between old and new, perfect and imperfect.

In Nii's eyes, the changes of ordinary fabrics are endless. The creation of fabric shapes in fabric modeling 1 and 2 is a typical example. He overlaps the common fabrics and uses the hot pressing method to pform the original flat fabric into a rich and personalized artistic image.

Many similar ingenious ideas are bold practices and reforms based on traditional technology. He creates special weaving structures by using two different types of warp and weft yarns.

In order to get the unique wrinkles of the fabric, he uses the different shrinkage ratio of the fiber material to create the fabric surface with different tension areas in the spinning process.

In design creation, he does not favor any kind of natural fibers or synthetic fibers, but uses their different characteristics to show their personality beauty.

Zig zag is a wrinkle which is not dyed acetate fiber and rayon blended weaving. High twist yarn and post-processing technology have achieved the wrinkle of cellulose acetate yarn and the texture effect of gauze mesh.

In the long run, these exploration methods for weaving structure and application of chemical post-processing will provide new inspiration for future textile design.

Master's Road

Nii is concerned about the cause of environmental protection, and has created a large stainless steel fiber works with the theme of "protecting the earth" to express his wish.

He made successful use of traditional dyed looms in weaving natural textiles with no dyeing and bleaching.

"Korea Radish" is the use of undyed wool, through jacquard technology and blanking of post-processing methods to create a three-dimensional texture effect.

The Fang Ping organization uses cotton yarn which is not bleached or dyed. It produces an unusual and interesting fabric surface by double knitting process. The plain color and rich texture together create noble and elegant quality.

He advocates the use of heat pfer printing and dyeing methods to create fabrics, because they can be produced without using water and meet the requirements of ecological protection.

In addition, Nii Junichi is also concerned about the use of titanium in future experiments. He explained that when titanium is oxidized to ultraviolet light, it will release oxygen into the atmosphere, and it can also get a series of wonderful colors through the surface treatment of titanium.

Looking at the innovative way of Nii Junichi's dyeing and weaving design, we can clearly see the track of the pformation of modern textile design.

From his design works, it is easy to see the accumulation of traditional culture and the magic of science and technology. His design method is like a Hongqiao, which draws the distance between aesthetics, culture, design and technology.

Science is the source of technological innovation in exploring the truth of the universe.

The innovation of science and technology in design principles, materials and production has provided new ways for human beings to express their inner feelings and desires. This is undoubtedly a fact that every textile designer in the new century needs to know and is also unavoidable.

It can be safely said that in the exploration of more than half a century, a generation of designers represented by Nii Junichi used creative practice to outline the modern textile design system closely related to design and technology, which is of great practical significance for the future prospects of textile design.