Wang Qingfeng: Breaking Up The Costume Design And Breaking It Up

In 2004, as the first fashion designer in the mainland to appear in London Fashion Week, in 2005, the Royal and British Art Center released its success in the spring and summer clothing works. In the same year, it was signed as designer by TopShop in Britain. In 2010, it held its first fashion show conference in China, and displayed its work on the 100th floor of the global financial center. As a Chinese designer, Wang Qingfeng (SimonWang) set up a good reputation at home and abroad.

However, it seems hard to imagine his clothing works. This is a designer who grew up in the prairie of Inner Mongolia and insisted on the principle of "non ethnic wind line not to go" at the beginning of London.

Recently, Wang Qingfeng took his season's ready-made clothes to the head of the Daning international "spring Rhapsody" theme music fashion show.

Under the melodious Jazz accompaniment, Wang Qingfeng's Vanity series appeared in the eyes of everyone.

Exaggerated skirt, pleat lace, complex ornament, elegant lace, underskirt style underskirt, ten sets of women's overflowing Rococo style, as if to bring back to France in eighteenth Century full of romantic and luxurious breath.

"When I conceived of this series of works, I had a great interest in the French court oil paintings from 17 and eighteenth Century.

The flamboyance and sweetness of the beautiful and elegant ones stimulated my desire to create.

During the exclusive interview with the first financial daily, Wang Qingfeng talked about his creative inspiration, and the story suddenly changed. "However, I have hidden many national elements into these designs, but they are shattered and changed into Rococo.

We need to savour carefully before we can identify it again.

Fashion design is not a folk show.

It's the first lesson that Wang Qingfeng learned in London.

"My mentor Colin Renfren (ColinRenfrew) is shaping me like this.

Later, in design, I have been dealing with problems like this.

I think he should have succeeded. "

Wang Qingfeng, who studied oil painting skills from an early age, had an artist's stubbornness, rebellion and anger in his personality.

It was this temperament that touched Colin Renfren, who was head of the Department of fashion design in RavensbourneCollegeofDesignandCommunication, Vince, London.

"I think your work is very much like Alexander McCune (AlexanderMcQueen), furious and unruly."

After seeing Wang Qingfeng's sketches, Colin decided that Wang Qingfeng was a plastic talent. He immediately sent an e-mail to the angry artist and told Wang Qingfeng that he was accepted by the fashion design department ahead of time.

"Colin did not think of that at the time. He also brought himself a quarrel with his opponent.

Our temper is very hot.

The conflict between Colin and Wang Qingfeng resulted from Colin's constant denial of Wang Qingfeng's design concept. "This is a process of thoroughly crushing.

Colin's criticism is like a heavy hammer, hitting the chest one after another.

Wang Qingfeng's deepest quarrel was in a costume design competition.

That time, Wang Qingfeng, with a strong homesick complex, tried to find the design nourishment from the ancient Mongolian costume.

He moved the wide band of the Mongolian costume, bionic totem, and horn shaped towering headgear into the garment.

On the day of the competition, he also found several professional models friends, dressed in these works.

In Star Wars prequel, there was a similar design.

So your work can only be said to be tailored but not innovative.

When Wang Qingfeng was not satisfied, Colin poured cold water on his head.

Several weeks of hard work for such an evaluation, strong Wang Qingfeng is difficult to accept, and mentors launched dozens of minutes of war.

Colin was the judge of the competition. Because he took the lead, several judges followed his train of thought to refute Wang Qingfeng's design. The debate ended in Wang Qingfeng's defeat. But afterwards, he realized the meaning of his tutor. He had to read more deeply about the national elements, open their shells, and integrate their connotations into the design so as to create their own works.

When Wang Qingfeng came to realize this truth, he suddenly looked back, and then went to see some works that advertised the designer of national characteristics.

"It's too straightforward to use the big words and big cardigan directly on clothes.

From my point of view, how can this be called clothing design? Clearly, it is doing folklore display.

He believes that no matter how the application of national elements, or draw on other foreign styles, they are exactly the same as make-up.

"Carefully look at the flashy series, you will find a shadow of the armor and cheongsam."

After being seen by Wang Qingfeng, he went to see his works this season. He saw that the purple and black petticoat petticoat chest was decorated with black scaly leather, which is clearly a mark of the Mongol worn by the martial Mongol.

As for the shadow of cheongsam, it is also a "overtone".

"Chest opening, skirt slit, that's called cheongsam?"

Wang Qingfeng pointed to a black evening dress. "The tailoring of self cultivation is the essence of cheongsam, but I turn it into a plain style, which is more in line with the aesthetics of modern clothing."

As for the black flower plants on the surface of this skirt, Wang Qingfeng has another explanation.

"That's the inspiration I found from the movie" eye opening ". The essence of the relationship between the two sexes is mutual suspicion, especially women.

The stamen on the skirt, the reproductive organs of the plant, hints at the suspicion and fear of the woman and is anxious to find a sense of security.

Tap the deep charm of mature women

"Sometimes women do not know how beautiful they are.

My design is to excavate the beauty hidden in the bones of the women after the age of 30.

Every woman can be Kate Blanchett (CateBlanchett).

However, for Wang Qingfeng, digging deep charm for women who experience the wind and frost and the signs of years are also a process of crushing and rebuilding.

Many designers just follow their own feelings and design their clothes, such as Anna, a famous Chinese woman designer in the fashion industry of New York, whose theme is always surrounded by the fairy girls who are dreaming about AnnaSui.

It is Anna's happiness to design clothes for his dream, but it's not the way for male designers to go.

The success of male designers is often because they know women better than women, and they know more about women than women.

To understand women's process, is it not to crumple up their original knowledge and create a new me?

Wang Qingfeng, who was once a designer in a well-known fashion brand, was worried about how to make plump women look thin.

With past experience, he has tried several schemes, but the results are not very satisfactory.

An elderly designer knew his troubles and asked him, "Simon, have you touched the body of a 40 year old woman?"

At first, Wang Qingfeng was disgusted with the problem itself. Soon afterwards, he understood the good intentions of the woman designer.

"You should understand what happens to a woman who has had children.

You should discard prejudices and really understand these women, rather than rigid solutions to problems according to the dogma of the Academy.

During his long observation after Wang Qingfeng, he discovered some "secrets".

For older women, fat tends to accumulate in the abdomen, hips, and thighs.

The rib part is not fat. "

With this discovery, Wang Qingfeng designed the clothing for women deliberately to improve the waistline.

"The waist line is in the position of the rib, causing the illusion of slender waist."

In the abdomen, hips and thighs, the flower bud design is used. "This exaggerated big arc is suitable for these parts of women, which makes good use of the accumulated fat and reflects the feminine beauty of mature women."