Chinese Elements Hidden Under Gorgeous Clothes

When our media cheered, "

When we go to the international arena, when the international media gives these young faces more shots and layout, people do not seem to care about the cultural composition in their works.

In other words, "

The "China" in this title has become an attribute of a pure geographical location which is not clearly identified, instead of being a representative of a certain cultural form.

When answering questions about "how to present Chinese elements in your work", this part

They often respond with ingenious coping styles.

For example, a certain position.

When it comes to the media question on paper, it is honest and stylized to respond: "I grew up in China, and my experience of growing up and my values influenced by Chinese culture will naturally permeate my work without having to express clearly with visual elements."

This is the answer to both questions and answers.

But no one can deny that fashion is

As a category of visual design, visual style and visual element almost decide all of it.

There are only two choices for Chinese elements: Yes or no.

Chinese actor Fan Bingbing unveiled the Chinese style dress for the three time at the International Film Festival in Cannes, France.

This is embarrassing.

Because it was about China.

Most of the discussions focused on 60 and 70 generations of designers.

That is the earlier batch of modern contacts in China.

In designing their creations, in their world view, China must distinguish from western modern fashion, and strive to break through some symbols from the oriental culture, and take these symbols as a visual element in their works.

As a result, we saw the long skirts with ink and wash landscape and calligraphy elements, and the rigid construction of the Forbidden City.

And accessories.

In today's aesthetic system, this seems to be a very undesirable practice, because they seem to be slightly elementary, without big changes.

The leap is almost in one step, and now it is active in the four largest international companies.

The Chinese new generation of fashion designers on the stage are proficient in modern western stereotactic technology, and they are all familiar with the history of Western art. They fully extract the useful parts of modern art and contemporary concept art, integrate the most fashionable styles all over the world, and design and produce a group of amazing costumes.

This is a good thing.

But if there is another logic, these works will be foreign.

You may not be able to distinguish your works from your peers.

However, this is internationalization, isn't it?

Whether you admit it or not, for a long time, the Chinese design industry also wants to get some experience from our immediate neighbour, Japan.

This kind of experience can not be directly captured and utilized, but rather a deep excavation of the cultural characteristics of the nation.

Japan's design has shown a unique aesthetic characteristic different from the western world since the war.

From the fashion category of Lssey Miyake, Yamamoto Teruji and Wakubo Rei to MUJI products covering all areas of life, and even Japanese films and photography, they all present a very strong characteristic of Japan.

Although they are not overlapped in style, the concise and cool tone of the Japanese national tradition is unanimously reflected in the above design and literary works.

And that China

The expressions are very similar.

They did not deliberately emphasize the direct application of the national visual elements. For example, in Yamamoto Teruji and Wakubo Rei's fashion, you can hardly find examples that they borrow directly from the Japanese national visual elements. However, when their works and Western designers are strong together, almost everyone can feel their strong Eastern philosophy and aesthetic conception in their works.

Lssey Miyake used a complete cloth to process folds and make a complete garment, which shocked the western fashion world in 80s.

Although wrinkles are not invented by the Japanese, they are different from those of the western modern fashions. The concept of Lssey Miyake's clothing just implies the deep meaning of simplicity and blank in the eastern aesthetics.

Lssey Miyake, a famous Japanese designer

Interestingly, the interface news released a report earlier this month on the lac Fashion Week held in Mumbai, India.

And the vast majority of the rest of the world.

The difference is that this fashion week in India is very different from the international standard in the fashion industry in the West.

Most of the Indian people are sturdy, so in this fashion week, models and costumes are also close to the reality of the market. On the other hand, the Indians are very loyal to the costumes represented by sari.

Most of the works displayed are also close to the culture of the India region and the main India ethnic costumes.

Although this looks funny, it is really unique and inspiring. It takes the whole world to the top of the four fashion week.

The popularity of the event has been more and more obvious due to the consistent trend of the global trend. Even the Rio De Janeiro fashion week and the Sydney fashion week in the southern hemisphere are trying to overcome the objective reality of the north and south hemispheres, which are not synchronized with each other, and pursue the fashion trend with the northern hemisphere.

Back to the question of Chinese elements, although the Metropolitan Museum of art in New York has a theme of a huge "China - mirror moon" theme year.

The great exhibition has pushed the Oriental aesthetic issue to the front of the curtain. However, the whole feeling still has a western view of a foreign ethnic element. The expression of Chinese elements in the western modern fashion system has always been in a semi marginalized position.

Today's global economic integration and cultural integration directly lead to a single flat style. At this point, it is probably an opportune moment for us to revisit Chinese design elements.