Ji Wenbo: Understanding The Connotation Of Chinese Traditional Culture Is Very Important.

Ji Wenbo, a Chinese designer who is good at combining tradition with modernity, design and commerce.

Following the world's top fashion week in Paris and Milan, in 2016, he moved the show of the original brand JIWENBO to the T stage of Harbin international fashion week.

After the first time, the reporter interviewed the sharp, original but humble and humble designer.

You can easily feel its respect for tradition, persistence in design and endless expectation and enthusiasm for the future of Chinese fashion industry.

Reporter:

It has always been the source of creativity for domestic designers and even overseas designers. What is the meaning of Chinese elements in your eyes?

Ji Wenbo: the development of the country and the improvement of the global status make us get more and more attention in the field of dress and culture.

In my view, the Chinese element is not just a totem concept, nor is it simply a pattern.

This is a precious intellectual legacy left by our ancestors for thousands of years.

For our Chinese

In fact, we need to spend some time to understand and digest the connotation of these traditional cultures. Only in this way can we combine with the present.

I do not agree with the fact that the traditional elements of the past dynasties are still intact, for the following reasons: 1, we can not carry it forward.

2, that is not our designer's work, it is our culture, we can use culture to exchange, to draw lessons from, to combine with the present.

To be a Chinese element, I believe that at the very least, designers must have the accumulation of traditional culture.

In addition, we need a uniform standard. What kind of clothes should be applied to traditional fabrics from different dynasties? How to use the cut structure? This is a big problem.

Over the years, some Chinese designers have taken the banner of Chinese elements, but they have made Chinese culture very vulgar and cheap.

In fact, our traditional technology and technology are not lost to anyone, but we always strive for complexity and complexity. This kind of design which is not understood is not even the most basic clothing knowledge and modeling aesthetics. It even caused a lot of misunderstandings to the Chinese design by the western mainstream media, which is a very bad phenomenon.

In fact, we also have many good designers who use Chinese elements in China.

Reporter: the whole series is full of Chinese elements: the trangka windbreaker, the dresses and accessories of some Zen, and the inspiration from the Peking Opera's eye makeup. How do you connect such rich traditional elements together?

Ji Wenbo: in fact, the series on display today is made up of different series.

The first group of black series you see is really a mixture of traditional Zen culture. The whole black line is suffused with a little white pattern.

This is my own understanding of the Zen culture and the clothing structure of the past dynasties, but the overall shape is very modern.

In the second group, I completely applied the Thangka in Tibetan culture, combined with the most fashionable clothing profile in the world.

The details add to the Chinese knot, and the overall feeling is very good.

The third group of red and grey tones is a series of recent works inspired by Tao culture, especially the grey system, which is a product of combining with pottery culture.

Reporter: what do you think is the difference between the fashion week in China and the famous fashion week in Paris and Milan?

Ji Wenbo: I think the biggest difference is professional, followed by justice.

The recognition of fairness stems from the professional operation system. This kind of profession is not only reflected in whether the people who see the show are professional, but also whether they are professional or not.

For example, if you want to become an official brand of Milan fashion week, your design must reach a certain standard first.

Secondly, is your brand mature? Does it have a certain social foundation? Does it have or has potential commercial value? Strict checks and institutionalized screening finally usher in the prosperity of the industry.

These are the places we want to learn from others.

Interviewer: how do you define your customers?

Ji Wenbo: my customers, I think, first of all, those who like and approve of my work, secondly, Yan Gao, and again have a certain economic and social status.

I like him and he likes me.

Reporter: I heard from you just now that your annual sales volume has reached the scale of 13 billion 500 million RMB, but many independent designers in China are still in a hot water situation.

As an older generation, you have good advice on business or design.

Ji Wenbo: to tell the truth, I think China's Internet needs to stop for a while, otherwise the society will lose its balance.

Because Chinese people rely too much on the Internet platform, Chinese businesses have lost their balance and some unhealthy phenomena.

I suggest that the state should have some guidelines and policies in this regard.

Secondly, I think that iron must also be hard. No matter what men's wear, no matter which platform, there must be an international perspective and must be differentiated.

I think designers must embrace business actively. Chinese designers in the future will have a better business model and should actively integrate closely with investors.

The traditional fashion business mode platform needs to be pformed. It should not be based on a single independent shop situation. It must be rational to live and experience, market oriented and public oriented.

Interviewer: do you prefer men's clothing or women's clothing?

Ji Wenbo: to tell you the truth, many of the honors I have received come from women's clothing design. Although men's business benefits are relatively large, I still like women's clothing from the bones, which also stems from the demand between brands and the market.