Six Ask Fashion Design Industry, Where Is The Way To Change Development?

　　 1. China Fashion world How do we need to evaluate the system and standard of fashion works and designers?

　　 Bian Xiangyang: the premise of this question is whether China needs such a system or standard, or is it current? Evaluation system And the standards are correct and effective. According to the current media coverage, basically the praise of the designers and their works is mainly praised. According to that praise, the standards of Chinese designers and works have gone far beyond all foreign designers. The ultimate result is that designers are killed, consumers are confused, businesses are fooled, and Chinese fashion always follows the West.

As for the evaluation of fashion works, the first is the positioning of works, whether they are pure works of art or practical works of art. As a pure work of art, there are already more mature evaluation and measurement systems. If it is a practical art work, it needs to be evaluated in the three dimensions of art, commodity, creativity, use, design and fashion according to the different fashion expression forms under the popular background.

Designer's talent can be used in art, technology and business The principle of mutual integration is examined. Designers are not perfect, there may be some aspects of the lack of capacity, which can be made through the design management system to make up for. Similarly, designers can not be great works, any designer may have unsuccessful works, to allow them to fail to create, and can not deny the designer's ability because of occasionally unsuccessful works. The key is how their successful design can be spanformed into a successful product, thus creating popular innovation.

Zhao Qian: actually, there is no quantifiable evaluation system for designer talent and fashion works. Quantifying creativity is not the best way. The evaluation criteria for creativity are determined by people who make standards. Different people have different perspectives and different focuses. Therefore, there is no perfect system to quantify. In my opinion, for fashion designers and designers, there are two criteria for inspection, one is whether the market recognizes it, and the other is whether fashion and professional media approve of it. Strictly speaking, the market is the only criterion for testing. Designers are talented, and their works are beautiful. But the market does not recognize them and the business channels can not continue.

At present, the evaluation system of designers and fashion works is not mature in China, and is limited to the guidance of mainstream public opinion. In fact, public opinion should be more diversified, and it is normal for designers to have different opinions on their works and talents. Because talented designers are not likely to be liked by all people. The evaluation of voices from multiple levels and angles is normal. Of course, we can not deny the designer's talent because of some negative voices. We should dialectically divide it into two, and a heated debate will explain the existence of designer's talent.

2. how should the atmosphere of professional fashion reviews in Chinese fashion industry be constructed? Is it the time for fashion reviews to survive and develop freely? What kind of fashion reviews do popular consumers need? How should professional reviews be linked to mass consumption?

Bian Xiangyang: first of all, we must accurately grasp the role of fashion reviews. It is an objective analysis and interpretation of the industry phenomenon from one or some angles. Secondly, the whole industry needs to have a correct attitude towards fashion reviews. Now some people think of the evaluation of works or events as an attack on designers or enterprises, which is not desirable. Finally, the author and the media of fashion criticism should have the correct value orientation. Praise or criticism is not the nature of fashion criticism.

With the emergence and development of Internet, the space of fashion criticism is increasing.

Fashion criticism that the masses need is a broad sense of fashion criticism, which has a guiding or subtle influence on Chinese people's fashion concepts and fashion aesthetics. What they need is an interpretation and analysis of professional phenomena.

The docking of professional reviews and mass consumption first requires the consistency of interest points, while professional reviews are of interest to the public and conform to modern people's reading habits. This requires fashion criticism to have more specific topics and appropriate expressions.

Zhao Qian: first of all, people who conduct professional fashion reviews should possess certain professional qualities, fashion qualities and international vision. They must have very strong comprehensive qualities, and his comments will be credible to the public, and their speeches will not go to extremes. Nowadays, some people who are commentaries are more extreme than others. Standing out to say that someone has talent or trend may give readers great attention, but it is not always appropriate for designers. At the professional level, no one can make different opinions.

Secondly, the current atmosphere of fashion criticism needs more freedom from the media, rather than what to say, but relative, requiring excellent skills and noble professional ethics as a guarantee. If you can make noise without being influenced by utility, but there are many business interests and relationships in the industry can not be eliminated, you can not say that advertisers are not good. Under such circumstances, whether an independent fashion critic exists, such as an independent prosecutor in a foreign legal system, will be more objective.

Again, now is undoubtedly the period when fashion criticism develops rapidly. The growth of fashion criticism is an inevitable trend. What exists will always find its way of existence. Nowadays, the degree of freedom of speech is increasing, and people's life behavior, dress style and consumption mode are more and more free. Such soil will surely give fertile soil for fashion criticism.

Finally, the commentary that the consumer needs is guided by a correct orientation and evaluated in a position of no utility. Between consumers and professional reviews, consumers are followers. They will believe in professional reviews, while consumers need to think more about information from professional reviews and not blindly follow suit. The interaction between them will promote the evaluation more objective and professional, and will also help consumers improve.

3. how can Chinese fashion designers and brands hold fashion releases? How can they weaken the influence of fame and fortune, and focus more on the product itself and brand promotion?

Bian Xiangyang: now that the introduction of the clothing industry system to China is not long and has a special historical background, from a certain perspective, as the matrix of fashion publishing, China's garment industry itself needs to be perfected continuously. Only by returning fashion distribution to professional behavior itself can it develop healthily.

Zhao Qian: there are many policy things in the Chinese market and even in the world. It is difficult to avoid the derivative of fame and wealth. We can not eliminate the pursuit of fame and wealth by designers without removing the source. The existence of goods in the Chinese market is also due to the need. Maybe 50% of foreigners are consuming, and it is reasonable to survive in the market. The same goes for fashion publishing.

China's fashion distribution is related to the sales mode of the Chinese market. The buyer has not yet reached the leading position, and whether it can lead to the leading position still needs to be discussed. The existing business channel determines that the publication of the brand or designer is seldom related to the commercial value and order, and more focuses on publicity and influence. It can not be denied that they can also get tangible gains from intangible value. After gaining influence, they will get reputation and become the object of support. This is also a cycle, and ultimately a sales way, but the content is not necessarily a product. The spanformation of China's commercial channels is determined by the market, and the changes in sales channels will affect the behavior of designers and brands, and the spanfer of value will also happen. However, the whole market system will adapt to the core of the times.

4. how can China's artists and art works effectively cross border cooperation when fashion designers seek to break through in the form of artistic expression under the influence of the world?

Bian Xiangyang: fashion has become an important phenomenon in the Non-material Society. Fashion itself is also an important carrier of post-modern trend of thought. Fashion designers can seek cross boundary cooperation in a variety of artistic categories as a connecting point with certain characteristics of fashion.

Zhao Qian: in recent years, we have also made many cross-border attempts. Cross-border has become the key word of world fashion. This is a popular phenomenon. With the fervor of modern art in the world, artists need to be more public. Designers, as a more public profession, want their works to rise to the artistic level. It is inevitable that fashion and art go together under such a background. Many of the achievements made by fashion designers in the past ten or twenty years have come from contemporary art, artists' foresight for the trend of life, and they have been spanferred to the life level by designers.

Some people say that cross-border marketing is only a marketing tool, but there will be no cross border marketing. The only difference is marketing on the basis of zero or creativity. Marketing creativity can produce more differentiated things in brand competition through the effective cooperation of core collisions, thereby gaining commercial value. Cross boundary cooperation is likely to be an attempt of qualitative change to qualitative change. With cross boundary as the guide, there will be more strategic and substantive follow-up to help brands and designers to achieve greater value in the economic society.

5. in the face of the changing demand of fashion industry in China, what aspects of fashion designers should try?

Bian Xiangyang: fashion designers should try their best to start their own businesses (designer brand building), develop creative industries (provide design services in the form of copyright design), and join brand teams.

Using the state to position the cultural industry as one of the pillar industries of the country and the opportunity to develop creative industries, the fashion creativity is further materialized and manufactured.

Zhao Qian: I think the problem that fashion designers should think about is how to design and should not want to go beyond the scope. A real designer, what he wants to do, can not be added to the usual details of human life. The realm of the designer lies in his works and style.

Fashion designers need to do their specialties, and partners need to do more. With the improvement of designers' value in the creative era, there will be many new models, especially the business mode, which will make the designer more focused on the profession, and his team must consider the reputation and attract investment. This trend is inevitable.

But designers need to grasp that the things that a designer wants to express if he is consistent with the times will become a trend. The best thing is to express the most appropriate thing at the most suitable time.

6. the fashion designers and designers who guide China's fashion consumption should be ordinary people, middle-income people or luxury consumer groups. Why?

Bian Xiangyang: fashion design and brand itself have a problem of consumer positioning, so we need to carefully analyze the status and role of these three groups in the spread of fashion. To build a popular system and culture with Chinese characteristics, it is inseparable from the behavior orientation and appeal of luxury consumer groups. The middle income group will become the main body of popular culture in the future. The clothing of the general public is related to the social happiness index. Although it is influenced by the former two, the sub culture youth is also the new force to create fashion. This is also the main reason why the brand segmentation is becoming more and more serious internationally. On the whole, China's clothing industry can not abandon the high level of luxury goods. We must work hard to influence the middle income class while paying close attention to the youth groups.

Zhao Qian: it is very reasonable for many brands and designers to locate the target consumers in white-collar and intelligent women. This shows that these people are the most powerful and representative in the consumption structure. In fact, this group of people will take the initiative to pay attention to fashion. In foreign countries, the publication of brand or designer is only for two kinds of people, one is the buyer, the other is the media. Business mode determines that as long as buyers are selected, sales will naturally be generated among target consumers, while the media will be faced with all those who are concerned about fashion and expand their influence in all consumer groups.

Ideally, a release is best viewed by its own consumer group, but it is also for everyone to see. If someone says they are only targeting a certain group of people, I think this positioning is more malformed. Costumes are related to all people. No matter how high they stand, designers have no right to despise consumers who are not his customers. Art and fashion serve the people. The designer himself also wants everyone to pay attention. They indulge in the moment of standing on the stage, doing the star dream, but this occupation is not a star occupation. The highest level of the designer is to be high and not high.