Li Chaode: Fashion Designers With No Hope Always Ignore The International Trend.

"The political changes in society always try to use their power to take fashion as the most elegant symbol of maintaining the power image, and fashion will always come forward to express its full respect for the individual of human nature."

-- Al G

A few years ago, Yang Ping, a media friend, sent me a book in France.

For fashion capital Paris, what people are more concerned about is the popularity of high fashion every year. It seems as if they walked across Champs Elysees street, and all of them came from the fragrant breeze of Seine River. Few people wanted to visit behind the prosperous fashion culture, France's design history and theory.

Because in the era of picture reading, many young people are mostly looking at fashion books. Few people are concerned about the design behind the fashion.

Even some clothing education experts are naive to think that making costumes is the biggest way. It seems that French people never talk about real "Tao" and only talk about "art".

Some entrepreneurs and design gurus who have gone to London, Paris, Milan, New York and Tokyo for a few turns have despised the rationale of fashion design in an extremely authoritative manner, and have spoken freely.

At last, clothing theorists were defeated by the gloomy and enterprisers and designers.

The media pay more and more attention to the role of fashion theory in the development of fashion design.

However, by rereading this style of "going to fashion", I further deepened my understanding of Mr. Grumbach, and I also had a new understanding of the French fashion industry.

Grumbach has every reason and qualification to take charge of the work of the French high fashion association because he reveals the details of humanity and history.

This is not only because he has long chaired the "French Fashion Institute" of the international fashion school. He even compiled the "fashion in person".

Since its publication in 1993, this monograph has long enjoyed the highest reputation as a compulsory textbook for higher fashion education in France.

In his preface, Grumbach said: "as a faithful predictor of social change and aesthetic change, fashion has embodied the abstract changes in its totally unbiased perspective.

The political changes in society always try to use their power to occupy the most elegant symbol of maintaining the power image of fashion.

The prosperity of fashion design is not one-way, nor is it necessary to discuss the way of dress.

China's costume design has been extremely proud of its great wealth of "clothing kingdom".

However, in the context of the globalization of design trends, and in the rapid development of the international creative industry, it is still self satisfied.

If the way of dress design stays in the Confucian sense, and repeatedly maps and annotate the existing results, it seems that some intellectuals in the late Qing Dynasty could only improve their social eclecticism with my Confucianism.

Wang Xinyuan, a famous designer, once published a book on the art of dress, though the book is not large, but its content is extensive.

As a Chinese designer, it is still the first person to talk about the rationale of fashion design in a mood of "seeing Wu hook".

I have had many long conversations with Wang Xinyuan.

Strictly speaking, he is the man who designs clothes.

Wang Xinyuan, who makes clothes, seems to be more concerned about theory. He once had a classic article to write a clothing world similar to the Manifesto of the Communist Party.

While I am particularly concerned about the evolution of design trends and the cultural philosophy behind the trend, I have become friends with many designers, schemer and models, with only one purpose: the rationale of dress design can neither be superficial nor vague.

The way of design concerns historical, philosophical, design, critical and even educational ideals.

After nearly twenty years of thinking, I have been writing about about six hundred thousand topics related to clothing design.

At one stage, Professor Zhang Xinke, a retired The China Academy of Art, once conceived the idea of building a theoretical highland of clothing design centered on Jiangsu, Zhejiang and Shanghai.

Now I think his idea is passionate, but somewhat romantic.

Later, Wu Hong, Li Dangqi, Xiao Wenling, Zhang Li, Hui Shuqin and I were co sponsored and supported by the Chinese Artists Association. Finally, the Chinese Artists Association's clothing design and Art Committee was established in 2008. The organization of the study of clothing science was established in the organization. With a good academic ideal, the idea of contributing some theoretical achievements to the Art Committee was brought up.

In January 2009, Professor Hangzhou sent me a monograph "design road" which he just published. He talked about design and made me feel like my old friend in my hometown.

To study "Dao", we have many travellers.

From the perspective of academic research, we can easily find that clothing, which seems to be skilled and material, has accumulated deep cultural philosophy and truth.

As the saying goes, "metaphysics is the way, while the form is the device."

Tao and apparatus constitute a pair of basic categories of Chinese philosophy.

The division of labor in society is divided into two categories: teachers and teachers.

Though the Tao and the slave can not tell the difference between the Tao and the Tao, the Tao is the study of Tao, while the Tao and the vessel can not be separated.

More than 10 years ago, I mentioned a concept of "big design". The concept of "big design" is called "small design".

It is impossible to separate the Tao from the device, the big and the small.

But in real society, especially in the field of costume design, it is an indisputable fact to emphasize "device" instead of "road".

As an applied discipline, garment design is the focus of material form, and skills, skills, crafts and popularity occupy an important part in the academic research of fashion design.

It is a difficult task to find out the cultural roots from the material appearance, and to sum up the rationale from them.

Because the nature of costume design determines that this is a more focused application.

If we do not attach importance to humanities, we will be a nation without spiritual support. If we turn a blind eye to the international trend, we will be hopeless.

This is what I thought of "going to the fashion" by reread.