Ying Gao is a Canadian fashion designer known for her interactive garments that explore the intersection of fashion, art, and technology. This document provides an overview of Gao's background and career, summarizing several of her interactive projects that incorporate fingerprint recognition, facial expression detection, and other technologies to create responsive clothing. It also lists Gao's exhibitions and a short film featuring her light-sensitive dress.

1. FASHION ORIENTATION
ASSIGNMENT 3
YING GAO
SUBMITTED BY:
• DIVYA SINGH CHOUHAN
• ROMISHA PRIYADARSHINI
• SHIVAM SAGAR
(F.P.TECH)
SUBMITTED TO:
ETTISHRI MA’AM

2. ACKNOWLEDGMENT
We would like to express our special thanks of gratitude to our teacher ETTISHRI
RAJPUT as well as our CC: Mr. VISHAL GUPTA who gave us the golden
opportunity to do this wonderful assignment on YING GAO , which also helped us in
doing a lot of Research and we came to know about so many new things we are really
thankful to them from the bottom of our heart.
Secondly, we would also like to thank our parents and friends who helped us a lot in
finalizing this assignment within the limited time frame.

3. CONTENTS
• INTRODUCTION
• EARLY LIFE
• CAREER
• INETRACTIVE PROJECTS
• OTHER COLLECTIONS
• DESIGNER IN THE PRESS
• EXHIBITIONS AND SHOWS
• CAPSULE-THE MOVIE
• BIBLIOGRAPHY

4. INTRODUCTION
• YING GAO, Canadian fashion designer who playfully explores the aesthetic
potential at the interface on fashion , art and technology.
• Inspired by changes in social and urban environment.
• Ying gao questions our assumptions about our clothing by combining urban
design, architecture and technology.
• Use software to conceptually develop indigeneous patterns and study
interactive technology in her garments.

5. Early life
• Born in 1973, started studying fashion at a very young age in
Geneva , Canada , Montreal and Switzerland.
• She has masters degree in multimedia from university of Quebec.

6. CAREER
• University professor at graduate school of Montreal fashion and design.
• Ying is also a recipient at the Phyllis Lambert design grant.
• Her designs sometimes consist of tools sometimes inspiration from the
surroundings.

7. INTERACTIVE PROJECTS

8. • MATERIALS
Nylon mesh, Nylon thread, PVDF thread, thermoplastic, electronic devices.
• Interactive clothing with fingerprint recognition technology, that acknowledges only
strangers.
• The two robotised garments are connected to a fingerprint recognition system.
• They only become animated in the presence of strangers whose fingerprints aren’t
recognised by the scanner.
→
POSSIBLE TOMORROWS

12. • MATERIALS
Super organza, cotton mesh, PVDF, electronic devices.
• Two dresses, named “Can’t” and “Won’t”, react according to a facial
expression recognition system and stop moving as soon as the on-looker begins
to emote.
• The “Can’t” and “Won’t” dresses push the notion of a false neutrality a bit
further by asking the on-looker to maintain a stoic attitude and posture.
• The spectator therefore becomes a component of a self-generated ecosystem.
NEUTRALITE : CAN`T AND WON`T

15. • MATERIALS
Super organza, photoluminescent thread, PVDF, electronic devices.
• The project was inspired by the essay entitled "Esthétique de la disparition“
(The aesthetic of disappearance), by Paul Virilio (1979).
• The series comprising two dresses, made of photoluminescent thread and imbedded
eye tracking technology, activated by spectators' gaze.
• A photograph is said to be “spoiled” by blinking eyes.
[NO]WHERE , [NOW]HERE

16. [NOW] HERE

19. • MATERIALS
Super organza and electronic devices.
• Inspired by director Jacques Tati’s film, Playtime lets the viewer reflect on appearances
and the perception of objects in space.
• This is an experimental design project.
• In the context of a fashion show with sounds and lighting, the possibility for the viewer to
photograph or shoot the pieces on video is rendered difficult.
PLAYTIME

23. • MATERIALS
Leather, super organza and electronic devices.
• Light, shape variations and mimicry meet in Living Pod.
• In front of the false twin pieces, the user can slowly set garment A in motion using
a light source. Garment B then imitates piece A in an exaggerated and unbalanced
fashion.
• Using flat-pattern cutting techniques, Ying Gao was able to give the process
fluidity and flexibility.
• The garment plays a mediating role between man and his environment.
LIVING POD

26. • MATERIALS
Stiff material, photolumiscent thread and pigment.
• The two pieces are suspended on a hanger, the first superimposed over the
second.
• A proximity sensor connected to the lighting system detects the presence of
the spectator.
• Spectator enters the room, the lights go on and the first piece is visible,
when the spectator leaves, the lights go out and the second piece unseeably
shows itself.
DEAR PAUL

28. • MATERIALS
Cotton, nylon and electronic devices.
• These interactive pieces play with the public’s perception: the fluid movement of
breathing is simulated using sensors and a pneumatic mechanism that’s sown
directly onto nylon and cotton.
• The pleated fabric in the Walking City pieces take numerous shapes, much like
Japanese origami.
• Light, immaterial, changing and poetic, this concept of inflatable pieces gives life to
the garments.
WALKING CITY

30. • MATERIALS
Super organza, silk and electronic devices.
• The two dresses is envisioned in collaboration with Artistic Director and
the Choreographer William Yong from company Zata Omm.
• The first dress is equipped with a miniature camera capturing an image which is then
projected on a bigger screen in real time.
• The second dress, more discreet in its appearance and movement, is only equipped with
motion detection sensors.
THE SHOW STILL GOES ON

32. OTHER COLLECTIONS

33. • 11 garments, 8 accessories.
• Medical-grade latex, medicated cotton, pins.
• Inspired by “Science Is Fiction: 23 Films” by Jean Painlevé.
• The capsule collection was created in a hospital waiting
room.
• This records amusing and surrealist moments in a hospital’s
daily life, spanning a period of two months.
SCIENCE IS FICTION

35. Facebook as a pop up book
• Inspired more from the form and the aesthetics of a book than
its literary aspect.
• She reshapes Facebook into a pop-up skirt.
• Casts a critical and amused look on social networks and on the
various interactions they (re)create.

37. • Statistics and social criticism meet in the style variation
project Indice de l’indifference.
• The entire pattern was altered by the compiled data
including the angle of the collar, the length of the pocket
and the depth of the folds.
• Ying Gao’s shirts reflect society’s indifference to a wide array
of cultural, political and social issues.
INDICE DE I`INDIFFERENCE

39. UNIFORMS
• Ying Gao wanted to prove the statement “Speed kills
creativity” wrong.
• She first randomly selected two images of uniform on
google and then altered them using a graphic editing
program to create five new pieces within 5 seconds.
• The two original images featured a nurse from the United
States in the 1920s and a German female worker in the
1940s.

41. POST VERNISSAGE
• The Post-Vernissage collections were created with
the clear goal of presenting slow wear as an alternative
to the fast-paced production cycle of contemporary fashion.
• Slow wear is a current trend that’s appeared in response
to the abundant products and images created by the
fashion industry: its promoters think we should own less,
but better-designed pieces.

43. BERLIN NAGOYA
• This collection features two pieces inspired by today’s
accelerated mobility of people and information.
• A scarf and a dress have a second function as,
respectively, a dress and a screen / bag.
• Two cities Berlin and Nagoya, both of which have also
seen a major alteration of their urban environment, is
theme taken up by Ying Gao’s work.

45. Glass hand bag
• Ying Gao and glass artist Michèle Lapointe
have innovated to carry a 10g shirt in a 10 kg bag.
• This is a glass object with a rounded contour, in which
they have inserted a shirt made of super organza.
• This transparent piece of work reflects on the nature of
accessories and their content, while being an aesthetic and
formal exploration of glass and textile.

46. DESIGNER IN THE PRESS

47. EXHIBITIONS AND SHOWS
• 2017. Ambiguous Scenery. National Taiwan
Museum of Fine Arts, Taiwan.
• 2017. Fashion Look Forward. Gaîté Lyrique, Paris, France.
• 2016. Fiction et Science. Joyce Gallery.
Palais Royal. Paris, France.
• 2016. Style + Technology. Museum of Fine Arts, Boston, USA.
• 2015. The Future of Fashion is Now.
Contemporary Art Terminal, Shanghai, China.

48. • Filmed on the island of Hydra, Greece, the short is an
haute couture-clad coming-of-age fantasy about a
matriarchic dominatrix and her female disciples that tells
the story of a flock of porcelain-skinned young girls
trapped within an 18th century Cycladic mansion and the
rituals they perform as a rite of passage to becoming
women.
CAPSULE
“THE MOVIE”

49. • The DesteFashionCollection 2012 curated by
Athina Rachel Tsangari is the central feature
of the film.
• The film also makes dramatic use of clothing
that responds to the environment ,
temperature of the body.
• Such as the ethereal light sensitive dress by
Ying Gao.

50. BIBLIOGRAPHY
• yinggao.ca/
• THE TIMES OF INDIA
• www.coolhunting.com/style/fashion-x-technology-ying-gao
•Thefashionpropellent.com