How Many Chinese Elements Are There In The Fashion Of Chinese Local Designers?

Have you noticed that on the international stage?

There are more and more names. After 80 and 90, young fashion designers mostly have the background of European and American fashion design institutes. In their works, we see more modern and international expressions.

When our media cheered "Chinese design towards international", when the international media gave these young faces more shots and layout, people seemed to not care about the cultural composition in their works.

In other words, "China" in the name of "Chinese designer" has become an attribute of a pure geographical location which is not clearly identified, instead of being a representative of a certain cultural form.

When answering questions about "how to present Chinese elements in your work", this part of the designers often respond with ingenious coping styles.

For example, when a man wears a piece of paper, this media question is honest and stylized. "I grew up in China, and my experience of growing up and the values that I have been influenced by Chinese culture will naturally permeate the works without having to express them with clear visual elements."

This is the answer to both questions and answers.

However, we must not deny that

Fashion, as a category of visual design, visual style and visual element almost decide all of it.

There are only two choices for Chinese elements: Yes or no.

Chinese actor Fan Bingbing made his three appearance in France

Chinese style dress

This is embarrassing.

Because previous discussions on Chinese design elements are mostly concentrated in the post 60 and the 70 generation of designers.

It is China's earlier contact with modern fashion designers. In their worldview, China wants to break away from the western modern fashions. It is to extract some symbols from the oriental culture and to put these symbols as a visual element in their works.

As a result, we saw a long skirt with ink and landscape and calligraphy elements, and a case of shifting the Forbidden City's architectural form to clothing and accessories.

In today's aesthetic system, this seems to be a very undesirable practice, because they seem to be slightly elementary, without big changes.

Spanning almost one step, the Chinese new generation fashion designers who are active in the four international fashion week stage are all proficient in the modern western stereotactic technology. They are all familiar with the history of Western art. They fully extract the useful parts of modern art and contemporary concept art, integrate the most fashionable styles all over the world, and design and produce a group of amazing costumes.

This is a good thing.

But if there is another logic, you may not be able to put these works together with the works of foreign designers.

However, this is internationalization, isn't it?

Whether you admit it or not, for a long time, the Chinese design industry also wants to get some experience from our immediate neighbour, Japan.

This kind of experience can not be directly captured and utilized, but rather a deep excavation of the cultural characteristics of the nation.

Japan's design has shown a unique aesthetic characteristic different from the western world since the war.

From the fashion category of Lssey Miyake, Yamamoto Teruji and Wakubo Rei to MUJI products covering all areas of life, and even Japanese films and photography, they all present a very strong characteristic of Japan.

Although they are not overlapped in style, the concise and cool tone of the Japanese national tradition is unanimously reflected in the above design and literary works.

Similar to the expression of the Chinese men's wear designer, Japanese designers did not deliberately emphasize the direct application of the national visual elements. For example, in Yamamoto Teruji and Wakubo Rei's fashion, you can hardly find examples of their direct borrowing from Japanese national visual elements, but when their works and Western designers are strong together, almost everyone can feel the strong Eastern philosophy and aesthetic conception in their works.

Lssey Miyake used a complete cloth to process folds and make a complete garment, which shocked the western fashion world in 80s.

Although wrinkles are not invented by the Japanese, they are different from those of the western modern fashions. The concept of Lssey Miyake's clothing just implies the deep meaning of simplicity and blank in the eastern aesthetics.

Lssey Miyake, a famous Japanese designer

Interestingly, the interface news released a report earlier this month on the lac Fashion Week held in Mumbai, India.

Unlike most other fashion week in other parts of the world, this fashion week in India is very different from the international standard that is based on Western fashion industry.

Most of the Indian people are sturdy, so in this fashion week, models and costumes are also close to the reality of the market. On the other hand, most of the works displayed in this fashion week are also close to the culture of India region, and the main improvement of India ethnic costumes is due to the high loyalty of Indians to the national costume style represented by sari.

Although this looks funny, it is indeed unique and inspiring. Looking around the world, the fashion show, led by the four fashion week, has become more and more obvious due to the consistency of the global trend. Even the Rio De Janeiro fashion week and the Sydney fashion week in the southern hemisphere are trying to overcome the objective reality of the unseasonally synchronized seasons in the southern hemisphere, and pursue the fashion trend that is consistent with the northern hemisphere.

Back to the question of Chinese elements, although the Metropolitan Museum of art in New York has pushed the Oriental aesthetic issue back to the front with a massive annual exhibition of "China's beautiful moon" theme, the overall feeling still has a kind of perception of a foreign ethnic element in the Western perspective. The expression of Chinese elements in the western modern fashion system has always been in a semi marginalized position.

Today's global economic integration and cultural integration directly lead to a single flat style. At this point, it is probably an opportune moment for us to revisit Chinese design elements.