Where Do Fabric Designers Go From Here?

From Baroque to Rococo, from Paris court to Austria court, from Eaton's public school to monastery, from pop to pastoral...

And when the 2006 spring and summer fashion again revive the old fashions, lace, chiffon, print, relief and so on, how to reproduce the aesthetic characteristics of Chinese traditional clothing and fabrics, and create a real sense of Chinese fashion?

The reporter found the answer from Ms. Huang Suning, who had a special fondness for Chinese traditional clothing culture.

Charming silk

Chinese traditional clothing materials are mainly silk, cotton and linen.

The silk industry in China has a history of seven thousand years. The Silk Road, which was opened up in the Western Han Dynasty, pmitted the silk culture to all the countries in the world.

Chinese silk embodies the wisdom, talent and aesthetics of the Chinese nation. Therefore, Ms. Huang believes that the number of silk in traditional Chinese fabrics is the most attractive.

There are many varieties of silk in China, such as brocade and crepe satin, elegant and elegant, and crepe de chine and Qiao Chi are elegant and reserved.

Nowadays, Chinese silk products emphasize glossiness, while many westerners prefer Yaguang silk.

This is a different aesthetic and consumption psychology between the East and the West.

She also mentioned that she used to be a beautiful traditional palace craft, but now it is used to process small gifts of cartoon designs.

-- both refined and popular tastes

When it comes to the grasp of traditional colors, Ms Wong said: "Chinese ancient people can use colors, such as purple, which are very noble and decadent colors. The official robes of Qing Dynasty are purple, and Miao embroidery is also purple.

And now we see most of the traditional costumes are red and green.

Although red and green are a distinctive feature of traditional costumes, the ancient people used them in a steady and harmonious manner, as well as those who use red and green southern Europeans.

The traditional fabrics in ancient China are naturally used in mineral and plant dyes. They are very restrained and can achieve a very harmonious effect with nature.

For example, the Tibetan robe is mostly made of black yak hair, or made of sheepskin, with a crimson inner shirt, which is rough and powerful.

There are still some misconceptions about the traditional colors of designers nowadays. Most of them think that "traditional" is the folk New Year pictures. In fact, it is not "big red big green" on behalf of China, it is only "folk custom", the so-called "refined tastes and common tastes", our "elegance" needs more performance.

Pattern - breakthrough limit

When it comes to traditional patterns, it is easy for people to think of such things as regiment flowers, dragon and Phoenix, and longevity.

She said, "in fact, Chinese traditional patterns are extremely colorful, and many elements are ignored by us.

I once saw a piece of brocade unearthed from Han and Jin Dynasties. In the exquisite design, it was printed with the words "five stars out of orient China", which is very consistent with the current national conditions.

Traditional elements such as this will break through the restrictions if they are ingenious. Otherwise, there will be big problems, which will greatly affect the vitality of traditional clothing.

In Asian countries, the traditional clothing culture in Japan, Korea and India has been well protected and developed. The fashion industry is also very developed, and we should draw lessons from their experience and practices.

Finally, Ms Wong suggested young.

We carefully study the elements in traditional clothes and make good use of them.

Design is "benevolence and benevolence, wise men see wisdom", "from this to the other, from the inside to the outside", without profound artistic accomplishment, it is impossible to pick the beauty of life.

There are many books on Chinese traditional clothing now, and many researchers have to do so.

Authors: Huang Suning, a painter of textiles and fabric design.

Graduated from the Department of traditional Chinese painting of Nanjing Arts Institute, graduated from the Department of folk art of China Central Academy of Fine Arts, and graduated from the Department of folk art of China Central Academy of Fine Arts. He has worked in Tibet for many years. In 1988, he moved to New York, USA, and worked in textile pattern design. He served as a Chinese textile fabric and pattern in 2002 and 2003.

Competition judges.