Intercultural Design | Project 1, 2 & 3
SEM 1.5
WEEK 1-7 (DEADLINE WEEK 7)
Edita Chew En
Thung / 0357357
Intercultural Design | GCD61304
Bachelor
of Design (Honours) in Creative Media / Taylor's
University
Project 1, 2& 3 : HANHABA OBI
Table of Content
INSTRUCTIONS
Module Information Booklet [MIB] Intercultural Design
Submission Requirement(s):
Theme : “Cultural Sensitivity in Design”
We are to study a cultural phenomenon, or a particular subculture that is
perceived as ‘sensitive’, and “frame” your study within the chosen
theme.
We are to convey this cultural aspect without altering the actual facts
but within a presentable interpretation and adaptation that raises
awareness from the viewers.
We are to produce some preliminary ideas on how to visually express your
interpretation using design language. Each idea is to be supported by a
short rationale.
We shall conduct visual research to help expand idea generation.
A Powerpoint presentation of the proposal containing:
- 200 word write-up defining and interpreting the theme in relation to the
chosen cultural elements.
- Citation is necessary as evidence to the research.
- A minimum of 3 preliminary ideas in detailed sketches, each with
individual rationale.
- Visual references (visuals that inspire/influence those ideas).
- Reference list & picture credits
LECTURES
The lecture we had on intercultural design and cultural sensitivity stressed
the need to consider various cultural perspectives when developing
designs.
To ensure effective and inclusive designs, the lecturer stressed the
importance of acknowledging cultural diversity. We are to explore how
cultural differences affect user experiences, urging designers to take
into account cultural diversity when creating products, services, or
communication materials. The lecture's purpose was to cultivate a sense of
cultural awareness in design, which would enable creations to be well
received by broader or even global audiences.
Week 1 : Module Outline
Our lecturers gave us a briefing on the module outline and projects, we
started on the brief of our first project with the theme:
" Cultural Sensitivity in Design".
It will be a group project and we are tasked to study into subcultures or
phenomenon related to the theme. Culture & Design our first lecture is
related to the theme cultural sensitivity, we were taught that visuals are
powerful persuasive mediums to provide most of our information about the
world, yet it is important to consider the cultural aspect of everything we
designers design.
What are visuals?
1. Everything that can be seen
2. Everything produced or created by humans that can be seen.
Designers need to be aware of cultural nuances, symbolism and context to
create designs that will be inclusive and resonating with the ever so
diverse audiences.
Design systems consist of three key elements: cultural functions, design
language, and implementations. Cultural sensitivity in design extends beyond
aesthetics and includes functionality, usability, and overall user
experience. It is divided into two parts: awareness and action. Awareness
involves understanding the diverse meanings of symbols and imagery,
selecting appropriate typography and language, and considering cultural
significance when choosing colors. Action involves inclusive design to
ensure accessibility, localization to adapt designs to specific cultural
contexts, conducting user research for insights, and providing cultural
awareness training for design teams to better understand diverse cultures.
PROCESS
Draft
In preparing my individual research and proposal on cultural sensitivity, my
focus was on understanding and incorporating cultural nuances specific to
Japan. I began researching on Japanese culture, including traditions,
communication styles, and societal norms. I identified key elements that are
crucial in design, such as the colour symbolism, aesthetics, and
cultural values.
To ensure a comprehensive approach, I considered the historical context and
contemporary influences shaping Japanese design preferences. I had 3
different approaches, Kimonos, festivals, or their food. I
thought that kimonos that are traditionally worn by the Japanese was
something that sparked an idea in my mind, so I went with kimono.
Additionally, I explored case studies of Kimono designs in Japan and
their cultural adaptability. With this knowledge, I made a plan to
emphasise a user-friendly approach that aligns with Japanese preferences and
values.
My goal was to lay the foundation for a thoughtful and culturally
resonant design, setting the stage for collaborative work with group
members in the subsequent weeks.
Then, I had an innovative idea of simplifying
Kimono belts to be made easier to be worn that was later then decided to be part of the proposal.
fig 1.0
TYING A HANHABA OBI
As tying the Hanhaba Obi traditionally would be proven difficult for most
young people or even for the potential international consumers, we decided on our approach for the Obi.
Cultural Sensitivity
Cultural sensitivity
plays a vital role in branding for the Japanese market because of the
distinct cultural nuances and values that influence consumer behaviour. It
is essential to comprehend and honour these cultural aspects in order to
create a favourable brand image, foster trust, and attain long-term
success.
The Plan:
1. The Brand
2. Brand Motto
3. The Main Product
The Brand
fig 1.1
Brand Motto
fig 1.2
Research
(while in Malaysia)
Nara Period:
Tarikubi robe similar to modern kimono.
Heian Period:
Flourishing of fashion, introduction of "straight-line-cut method,"
jūni-hitoe for the upper class.
Kamakura Period:
Samurai class simplifies kimono design.
Muromachi Period:
Wide sleeved layers abandoned, creation of new kosode styles.
Azuchi-Momoyama Period:
Kimono obtains more elegant form, emergence of new weaving and decoration
techniques.
Edo Period:
Peace and economic growth, flourishing of the "floating world," export of
kimonos to the West.
Meiji Era:
Shift towards Western clothing due to trade with the West.
The kimono is a traditional Japanese outfit that's like a long robe with
wide sleeves. It's worn for special occasions like weddings or festivals.
The obi is a big sash tied around the waist to hold the kimono closed. There
are different types of obi for different occasions. Both the kimono and obi
have special designs and symbols that can mean things like good luck or
happiness. Even though not many people wear them every day anymore, they're
still important symbols of Japanese culture and tradition.
PROPOSAL
fig 1.6 | proposal
fig 1.7 | link to source
here.
Next, I delved into the visual language and design conventions
associated with Japanese stamps, analysing their use of symbolism,
colour palettes, and typographic elements. Through thorough research
and analysis, I identified recurring themes and motifs that
resonated with the desired aesthetic for my logo design. From
graceful cherry blossoms to their awe-striking architecture, each
image on the moodboard served as a source of inspiration, informing
my creative decisions and guiding the development of the logo
concept. By synthesising these diverse influences into a cohesive
moodboard, I gained clarity and direction for translating the
timeless beauty of Japanese stamp designs into a unique and
memorable logo that captures the imagination and leaves a lasting
impression.
fig 1.8 | link to source here.
logo | sketches (draft):
fig 1.9 | sketch (by Edita Chew En Thung) © 2024 Edita Chew
The product draft:
fig 2.0 | sketch (by Edita Chew En Thung) © 2024 Edita Chew
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fig 2.1 | sketch (by Edita Chew En Thung) © 2024 Edita Chew
DATA COLLECTION
(OSAKA & KYOTO, JAPAN)
DATA COLLECTION JOURNAL
fig 2.2 | Data collection journal
INTERVIEW QUESTIONS
fig 2.3 | Interview Questions
INFOGRAPHIC VIDEO
fig 2.4 | infographic video (short)
NONO Factory
fig 2.3, 2.4, 2.5 & 2.6 | Data collection (pictures by Edita Chew
En Thung) © 2024 Edita Chew.
During our visit to Kyoto, we had the opportunity to explore the Kimono
Factory NoNo, a unique space that combines both stores and factory
operations. We conducted our second interview here with the person in
charge, who kindly shared insights into their production process and
showcased samples of their work, including clothing, shoes, purses, and
accessories. We learned that their focus is on maintaining the
originality in the kimono business, with most of their clients being
friends or relatives.
Additionally, the staff at the factory introduced us to two stores
selling kimono, obi belts, and accessories. The first store, "Kimono
Daiyasu," offered high-quality and extravagant obi belts, while the
second store, "Shinshoen" or "Yuusai," provided a wider range of options
at more affordable prices for us students.
We observed that Hanhaba obi belts, designed for casual wear, were
particularly popular among women for their simplicity and versatility.
Furthermore, we discovered that people often accessorise their obi belts
with decorative cords for added elegance. Additionally, we learned about
the traditional footwear and accessories worn alongside kimono, such as
ornamental hairpins, tabi socks, and geta or zori.
In Osaka, we visited Chiso・Kawashima Orimono Kimono Salon, a
collaborative shop that offers diverse kimono styles and accessories for
various life milestones. Through these experiences, we gained valuable
insights into the kimono industry and Japanese traditional attire,
enriching our research data.
RATIONALE
The creation of the kimono obi, our inspiration lies in between
Japan's timeless cultural legacy and the
rhythm of modern life. The kimono, a symbol of tradition,
deserves a touch of innovation to seamlessly weave into the fabric of our
contemporary existence.
The driving force behind this project is the recognition of the challenges
tied to the traditional obi-tying process. Picture a fusion of fastening
mechanisms and materials that simplify the intricate ritual, promising not
just practicality but a user-friendly and
time-efficient dressing experience. Imagine the embrace of
modern, comfortable fabrics with adjustable features, ensuring a perfect fit
for bodies of all shapes and sizes.
Yet, it's not just about convenience. Our aim is to breathe new life into
the kimono industry, making it accessible to a broader audience. By fusing
tradition with the modern, our kimono obi intends to capture hearts globally
and spark a fresh appreciation for this iconic garment. It's not just about
preserving heritage; it's about ensuring the kimono thrives as a symbol of
timeless elegance in the vibrant tapestry of contemporary fashion and
lifestyle.
FINAL OUTCOME
fig 2.7
Hiragana= みゆ
Katakana= ミユ
Our kimono obi brand, takes inspiration from
old Japanese stamps to
evoke a sense of timeless elegance and tradition. The silhouette of a lady represents grace and femininity, while the
red and white colours reflect traditional Japanese themes of vitality
and purity.
The addition of a sakura flower on the
lady's head symbolises beauty and renewal, capturing the essence of Japanese culture. Together, these elements
form a logo that embodies sophistication and tradition, perfect for representing Miyu's brand identity.
fig 2.8 | logo by Edita Chew En Thung) © 2024 Edita Chew.
MIYU, where we blend traditional Japanese craftsmanship with modern
convenience. Our brand ethos revolves around preserving the authenticity
and refinement of Japanese tradition while ensuring accessibility for all.
So, um, let me introduce our latest innovation to the Hanhaba Obi. Our
Hanhaba Obi prides itself on its pragmatic design and universal
functionality.
Unlike its counterparts, it has a universal fit, accommodating
individuals of various sizes and shapes with ease. Our innovation lies in
the incorporation of hooks, eliminating the need for complex knots and
facilitating effortless adjustment to your desired length. This intuitive
feature not only saves valuable time but also enhances user convenience.
Despite its modern adaptability, our Hanhaba Obi remains deeply rooted in
the essence of Japanese tradition, exuding an understated elegance that
transcends trends. In addition, we proudly present MIYU's Kimono Obi,
epitomizing authentic simplicity with a touch of contemporary grace.
fig 2.9 | Product Photos by Edita Chew En Thung) © 2024 Edita Chew.
fig 3.0 | Product Photos by Edita Chew En Thung) © 2024 Edita Chew.
FINAL DATA COLLECTION
fig 3.1 | Final Data Collection compilation
FINAL PRODUCT SLIDES
fig 3.2 | Product Slides by Edita Chew En Thung) © 2024 Edita Chew.
FINAL PRODUCT PRESENTATION
fig 3.3 | Product Slides by Edita Chew En Thung) © 2024 Edita Chew.
REFLECTION
Throughout this module, I've had the opportunity to engage in a variety of
activities that have significantly enhanced my design process. Through
conducting research pertinent to our design goals, I've sharpened my ability
to gather and analyse relevant information effectively. Moreover, our
experience of traveling to Japan allowed us to immerse ourselves in another
culture, providing invaluable insights and inspiration for our projects.
Collaborating with my peers has not only fostered a sense of team spirit but
also encouraged critical thinking and problem-solving as we navigated through
design challenges together. As a result, I've learned to employ effective
communication skills, document findings in appropriate ways, and express
critical thoughts in visual form. Additionally, I've gained practical
experience in applying research skills and translating ideas into design
output, while also identifying suitable media and design approaches. Overall,
this module has been a fun and eye-opening journey, allowing me to grow both
personally and professionally as a designer.
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