page 1.Research Question: How can our clothing tell a story about our daily life?
We are asked to create traces to change all around us without breaks by life. Clothing takes the most life traces as a medium we come into contact with most frequently. Traces, the strong evidence of life existence, event occurrence and time lapse, are reflections of relations-making process between human beings and clothing whether they are left in clothing unconsciously or an intentional record of life. The aim of my project is to improve and compliment the creation of sustainable private emotions when clothing is used to make it show and take down daily behavior habits, life stories and living environments of the users more clearly and beautifully and even become a platform for revealing emotions. Then discoloration, deformation and change of surface of clothing are not only a loss of value but also a help for clothing to tell real life stories.
page 2. Background:Emotional Durability Design世聯翻譯公司完成服裝類英文翻譯
Life traces constitute the unique identity of clothing and produce the emotional connection between products and users which can’t be copied. When, where and people who are involved are significant elements of the narrative. The close and enduring emotional relatedness will be produced when the user and clothing share the same private history, in other words, own the same life story. If clothing is used intentionally or unintentionally or overused, traces appear. Age and developing “character”which grant clothing ownership and uniqueness are important.
page 3. Processes
 “Telling”uses traces to take down the true life stories by beautifying the aging process of fabric. Usually, clothing will lose its value with aging of fabric. However, in the project, narrative and surface are key words. Traces left in clothing will be helpful to create narrative. And surface is significant because clothing changes ceaselessly with functions of people and life. Telling takes fabric design as principal part to take down two kinds of real life traces produced with different modes supported by tools including accidental traces produced by daily life activities and graphic traces created by tools intentionally with major form of patterns to take down and reflect on life implicitly.
page 4.Materials (materials images)
We find that life defines clothing by changing the color, shape and texture of fabric when we search for relations between clothing and users with traces. Thus I expect to improve the producing ways of the three traces by beautifying fabric design to achieve the target of taking down life with clothing.
page 5.Brush and Blocking Tools (tools images) 
1. Tools for producing traces
I produce a set of tools more suitable for fabric as wear is the key reason for fabric aging. Each tool has its own shape, usage and function. According to different forms and texture of traces in various research stages, I distinguish them on design such as scratching, hole making and pilling. They could be used to cut according to size of traces and use habits of people to bring convenience. Considering that the change of fabric texture on wear mainly depends on texture of abrasive tools, I make the parts of tools which are used to rub fabric different. Tools for rubbing fabric must have a weight to increase their utility because of the particularity of use methods.
2. Tools for controlling shape of traces (they are used to control shape of the traces in fabric produced by rubbing.)
They could be combined to patterns freely like toy blocks for people to adjust graphics according to their interest and produce implicit graphic traces for taking down life. Application method: put them at the back of fabric and rub the fabric. A corresponding pattern will appear on fabric.
page 6. Research 
＊Abigail Sebaly：Searching for the Imprint Movement Leaves Behind. Although the background story of a specific trace can’t reflect a logical human movement accurately, it is a record and description of a dancer’s life.
＊Silvia Hatzl：A Fragile Existence she perceives rusty marks on shirts as traces of the physical, mental creases we have sustained, that is to say they rot, temporally they are like their servants, which to their very last strike never quite have the last word.
＊Barbour：archive jacket
Each archive jacket is telling a story sharing by clothing and its user. Each item of its clothing reflects a specific historical figure and a historical time.
＊Paul Harnden buries his shoes and clothing to imitate and catch up with a particular historical time. People are not buying his products simply but a story for more times.
＊The series of Hussein Chalayan is about rusted, romantically decomposed clothing.
＊Maarten Bass collects a series of antique furniture to burn. Then cracks appear on surface of furniture to form their uniqueness.
page 7.what is that mean?
1. Narrative and record: the significance of telling is to set up a historical process shared by clothing and users, during which, clothing becomes the projection of users’ life and the function of clothing is narrative rather than reflection.
2. Uniqueness: Fussell said in his Why We Are What We Wear, “our invaluable personality and unique identity is so important” that each of us is unparalleled. Therefore, each life is precious. Telling would like to remind people of showing their unique value with design.
3. Initiative: different from works of designers such as Paul Harnden, the background stories of his works are a key reason for people to like them. However, Telling grants users the absolute right of control to clothing. Users are not buying clothing full of stories but writing their own stories on Telling objects in life.
4. Communication: narrative and surface are main targets of the project. Clothing offers a platform for people to learn each other. Life reflects itself on clothing in the form of patterns. Although clothing can’t reflect everything accurately, the reserved reflection will promote a better communication.
5. Introspection: moreover, the design of tools builds Telling a carrier of emotional meditation. It could take down life without any skilled repeating physical movement. As soon as it records life, clothing could help people to have a better self-reflection and self-knowledge using meditation.
 世聯翻譯公司完成服裝類英文翻譯
page 8. analysis of the market Customer Typology
Telling project takes down life by designing new textile style and clothing usage mode. It’s a couture collection aiming to medium- and high-end population with age of 25-30. Consumers of Telling who expect to show themselves with clothing and reflect their uniqueness are both fashionable and nostalgic. Although maybe they are not good at emotional exchange with words, their inward world is colorful and needs to be reflected to others. The ideal consumer population is people who are fond of art and life and would like to imagine the future. They like to have an introspection to make the future better as soon as they take down the past.
why is it pertinent in today’s society?
The fast-paced life style of modern society brings huge mental pressure to people who can’t learn others and themselves very well. Telling offers such a way to reduce the distances among people and between body and heart and a platform for communication. 
page 11. Conclusion
With transformable fabric design and design of tools for speeding up generation of traces, Telling grants clothing the ownership and uniqueness to make a closer and unsplit emotional relation between users and clothing. It’s to achieve emotional durability design by changing the use habit of users to extend service life of clothing and reduce replacement of products. Furthermore, it guides users to reflect on life, learn themselves, have self-examination, self-discovery and self-knowledge as soon as they take down life with design of tools.  

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