Yang Yude, Costume Designer Of Taiwan Theatre: Making Clothes Not Just Clothes

From the choreographers of Huang Yi's "body tone", the dancers' amazing fishbone costumes, and last year's cooperation with Huang Yi in the "second skin" experiment program, the dancers were filled with shrinking, constantly changing, and amazing fashion installations. These creative designers are Yang Yude, the latest fashion designer.

Unwilling to simply design for fashion, she was determined to embark on the road of theater costume design, to practice a solid practical skill, and to challenge choreographers' traditional thinking. In cooperation with Huang Yi, the costumes in theaters "not just clothes" are also creative "soft sculptures", which show more levels of performance aesthetics.

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He graduated from the Institute of fashion and media studies and studied the expression of the flow of clothing under the dance.

In recent years, the stage costume design works include "body sound", "SPIN", "floating room", "poetry stripping", "great God" and so on.

Last November, he co authored with Huang Yi to publish a "second layer skin" experiment.

The skin is sculptured with the outline of the face and body; a group of dancers clinging to the wall slowly slips down, leaving the marks of hands, feet and bodies on the wall; just like the airbag like garments, starting from the back of the dancer, slowly inflating and expanding; the mechanical device of the drum is automatically struck by the sound of body movements; a dancer passes through a stretched wall, the wall falls down immediately, the costume design goes on stage, and a pair of clothes is cut directly with scissors, the dancer then begins to spin, and the other person carries the hair dryer to the flapping skirt, and the cloth gradually displays different color levels. Recently there was a film on the Internet. At the beginning of the picture, a large gray cloth was covered on two dancers. When the air between the dancers and the cloth was drained, the cloth was absorbed on the dancer.

This is in November last year, choreographer Huang Yi and the fashion design Yang Yude cooperation with the art and craft experiment program "second layers of skin", different from the past clothing is only "service" dance body display, this clothing dominated by the concept core, combined with dance, power machinery, high-tech media material presentation, opened the body and clothing dialogue another possibility.

Not obedient and obedient students take the theatre costume design.

This is not the first time that I have noticed the name of Yang Yude. In two, eight, the dance flyer of the Cloud Gate Dance 2, "spring Dou", the dancers are wearing a peculiar shape, and the fish bones that are full of future will come out of her design.

"If clothes are just clothes, then boring is boring."

Yang Yude said.

As a matter of fact, Yang Yude was not a good obedient student from the Tainan clothing department.

In the classroom, the teacher asked everyone to look for the material of fashion design. She looked for inspiration from pictures of African refugees. When most of her classmates chose to practice in the fashion field, they went north to attend the theater camp and wanted to learn the stage costume design.

"Because I know that my interest in stage costumes is much more than fashion design, when I graduated from the exhibition, I started with cloth and processed and created a piece of installation works, which resulted in being scolded by teachers to stink."

This work, which is quite different from the teacher's eyes, has attracted the attention of many art department students. At the time when Yang Yude had not yet been popular with the fashionable word "cross boundary", his works had full crossover elements and potential.

After graduating from home school, Yang Yude worked as an assistant for two years at the theater's senior fashion designer Lin Jingru. After more than three years, he worked as a clothing manager in the technical department of Cloud Gate and had rich practical experience. Compared with other theater costume design, she was able to master the links from design to execution in addition to her technical attire.

After going out of society, it was found that teaching in schools was not practical at all. I also went to the department store to go to school to print at my own expense. During the period when I worked as a teacher, I almost dabbled in various kinds of costume making of performing arts, and learned the techniques not taught in schools, and how to operate costumes with different stage distances.

Later, he entered the cloud gate. Yang Yude not only made the sewing repair work of the general clothing management, but also carried out the costume production of the water moon, which was to be carried out at the time, and even co worked with Ye Jintian in the dress design of Li Haining dancing as the sun hung up.

The idea of being shot by a choreographer once suspected himself.

In two, six, Yang Yude left the cloud gate and started a career of independent design. However, this road was not as smooth as imagined.

For most choreographers, the dancer's clothes are for the audience to see the lines of their limbs. Yang Yude's design tries to challenge and change the idea, but is often shot by the choreographer. At last, even she began to doubt herself: "I want to dress more on the dancers, but the early choreographers are less accepting, changing the dancer's shape, but a taboo.

So at the beginning of the case, when the case was very miserable, many ideas could not be brought into play. The choreographers criticized my designs for destroying their works and heard anything bad.

Yang Yude emphasized that it was later discovered that all the restrictions in the process, all of which could not be turned into the energy of creation, broke out when she entered the Institute of fashion and media of the University of practice.

During the Institute, Yang Yude came into contact with a situation full of possibilities, met different groups of people, and encouraged the students to give full play to their creativity and create freely. In the two period, the strange coffee seemed to be re summoned.

"At school, we talk about people's lives, talk about future possibilities, talk about environmental issues, and talk about the impact of technology on design.

Jumping off the logic of traditional costume design and looking back at how clothes can be played, I see more room for imagination.

When he published his graduation work, Yang Yude used many unexpected media, such as the soft wire of the sun visor, the spare parts on the instrument, and so on to construct the clothing with architectural concept, and the clothes were like the habitation of the human body.

Yang Yude described that it is more appropriate to say "soft sculpture" rather than clothing.

This rather original work not only made her regain confidence in her own design, but also opened her chance to cooperate with choreographer Huang Yi, and even after watching the video, Lin Huaimin decided to find Huang Yi's 2 choreography for the Cloud Gate dance, which is the source of the development of "body sound".