Dr. Chamaiporn Mitinunwong
Abstract :
This research investigates the aesthetic preferences of Generation Z (18–25) for dye-based, abstract color treatments in contemporary fashion. Driven by this demographic’s demand for authenticity, uniqueness, and self-expression, the study aims to establish a novel design methodology focusing on organic abstract color and pattern as the primary elements of garment construction.
The project addresses the market gap for aesthetically unique, mid-range fashion that incorporates deep artistic complexity and craftsmanship (dyeing and hand embellishment). I seek to bridge high-art principles with commercial viability by designing outfits featuring fluid color transitions, subtle layering, and delicate detailing.
The mixed-methods methodology begins with a quantitative visual survey (N=56) using the Paper Doll Data Set, in which participants pair abstract textile swatches with outfit silhouettes. These findings are then critically reviewed in a qualitative focus group/interview with two professional textile designers and two university lecturers in Bangkok to validate technical feasibility and aesthetic resonance. The expected outcome is a final collection of 3–5 prototype outfits and a comprehensive report. These prototypes will demonstrate a novel design direction where Abstract Expressionism is embodied through unique dye applications and complementary textile construction, offering a practical roadmap for brands targeting the young, art-conscious consumer.
Objectives :
The research aims to explore and define the optimal outfit aesthetic that suits the new young generation (age 18–25) who demonstrate a strong affinity for textile art, dye color, and abstract expression.
Conceptual Framework :
The research employs a rigorous mixed-methods approach combining quantitative and qualitative data collection to ensure the final design collection is empirically informed by the target consumer and validated by creative experts.
Phase 1: Quantitative Visual Preference Testing
- Goal: Objectively assess the aesthetic tastes of Generation Z (18–25) in Bangkok.
- Instrument: Structured, paper-based visual survey utilizing a Paper Doll Data Set.
- Process: Participants (N=56) actively pair Abstract Textile Swatches (various dye patterns) with Outfit Silhouettes (garment forms). They rate the appeal, emotional resonance, and perceived wearability of these pairings using a Likert scale to yield precise data on the successful translation of abstract art into wearable fashion.
Phase 2: Qualitative Expert Validation and Interpretation
- Goal: Critically review and validate the quantitative findings for technical feasibility and commercial viability.
- Participants: Four Bangkok-based experts: two professional textile designers (dye experience) and two university lecturers (fashion theory/Gen Z trends).
- Process: Focus group/interview to interpret the resonance of top-rated aesthetics, validate the technical feasibility of achieving preferred dye effects (e.g., fluid transitions), and discuss production challenges for unique, craft-focused garments. Data will refine the final design direction.
Phase 3: Practice-Based Design and Prototyping
- Goal: Synthesize validated data into a final collection.
- Process: Experimental dyeing to recreate preferred abstract patterns (using reactive dyes). Construction of garments incorporating Computerized Embroidery for motif stabilization and Hand-Embroidered Yarn for dimensional embellishment.
- Output: A final collection of 3-5 prototype outfits.
Process / Methodology :
1. Research & Review
1.1 Quantitative Visual Preference Testing: Objectively assess target aesthetic tastes. Data collection from Generation Z (aged 18–25) in Bangkok
1.2 Qualitative Expert Validation and Interpretation, four Bangkok-based experts: two professional textile designers with experience in dye techniques, and two university lecturers specializing in fashion
1.3 Synthesize the validated aesthetic and technical data.
- Conduct and analyze the Paper doll data set survey: Transcribe and analyze expert focus group data.
- Develop final color palettes; Conduct dye experiments (focusing on achieving the painting); Produce final textile swatches.
1.3.1 Painting by using the reactive dye color techniques
1.3.2 Computerized Embroidery
- Conclusion and the development of the prototype outfits, integrating embellishment (Painting with reactive dye color)
- Publicity
Techniques and Materials :
Materials:
- Materials: Fabric 100% white sheer cotton (9 yards) and cotton lace (30 yards).
- Dye: Reactive dye colors.
- Mordant: Soda Ash
- Embellishment: Computerized Embroidery machine (for motifs) and hand-embroidered yarn (for dimension).
Techniques and processes
Part 1: Painting reactive colors on fabric
- Preparing the fabric: Bring the sheer cotton fabric to a boil and peel off the starch and dirt.
- Pre-mordant fabric and the cotton lace by using soda ash mixed with the water (1 cup of soda ash: Water 1 liter), soak the fabric in a pot for 15 minutes.
- Testing the colored swatch, an abstract pattern, and painting an abstract on cotton for 8 yards. In the project, the table is used instead of the wooden frame.
- Dry with the dryer and leave the fabric to absorb the color overnight.
- Rinse with water to clean the color off the fabric and dry.
Path 2: Divides the reactive dye-painted fabric into two sections. Section 1: 7.5 yards for cutting the prototype, and Section 2: 1.5 yards to embroider the flower motif with a Computerized Embroidery machine.
Part 3: decorated with hand-embroidered yarn to embroider a bouquet all over the outfits.
Result / Conclusion :
The study confirmed that the target group prefers apparel that integrates textile craftsmanship, viewing techniques such as fabric painting and dimensional effects as highly valuable and unique. While reactive dyes achieved the desired watercolor-like color gradations, a lack of motif-form stability was observed during painting. This was effectively resolved by skillfully integrating embroidery alongside the painting, which successfully conveyed the dream-like floral narrative and introduced essential depth and dimension to the final collection, delivering the desired fresh, youthful aesthetic.
References :
Alison Gwilt and Timo Rissanen. (2011). SHAPING SUSTAINABLE FASHION. USA: Earthscan publishes.
Benn, C. (2017). Exploring Fiber Reactive Dyes . Galli Productions.
Globallinkerstaff. (2025). แบรนด์แฟชั่น ปรับตัวแบบไหนให้ถูกใจ Gen Z. Retrieved from Globallinker: https://th.globallinker.com/bizforum/article/%E0%B9%81%E0%B8%9A%E0%B8%A3%E0%B8%99%E0%B8%94%E0%B9%8C%E0%B9%81%E0%B8%9F%E0%B8%8A%E0%B8%B1%E0%B9%88%E0%B8%99-%E0%B8%9B%E0%B8%A3%E0%B8%B1%E0%B8%9A%E0%B8%95%E0%B8%B1%E0%B8%A7%E0%B9%81%E0%B8%9A%E0%B8%9A%E0%B9%84%E
Kelly, A. (2025). Abstract Textiles: Color, Shape, and Pattern in Textile Art . Batsford.
Lin, R. (2024). Digital Fashion Design: Catering to Generation Z’s Unique Consumer Psychology. Proceedings of the 3rd International Conference on Education, Language and Art (ICELA 2023). China: Atlantis Press.
Richard W. Horobin, J. C. (2021). Reactive dyes for living cells: Applications, artefacts, and some comparisons with textile dyeing. Coloration Technology.
Stamm, O. A. (1968). Mechanisms of Reaction of Reactive Dyes with Cellulosic and Other Fibres. Journal of the Society of Dyers and Colourists.
ลิ้มวัฒนาพันธ์, ณ. (2023, พฤษภาคม 25). ‘ของมันต้องมี’ ทำอย่างไร เมื่อคน Gen Z รักในเทรนด์แฟชันที่เปลี่ยนทุกวัน แต่ก็รักสิ่งแวดล้อมด้วย. Retrieved from mutualfinding: https://mutualfinding.co/gen-z-with-fast-fashion/