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    Jinding Fashion Designer Zhang Zhaoda: From The First Sight, Loyal To The Heart.

    2018/11/4 16:33:00 1083

    Zhang ZhaodaGolden SummitDesigner


    Zhang Zhao Da

    Jinding fashion designer


    Preface

    The pioneer of Chinese fashion design in the 1980s, creating a balance between market and elegance; a controversial contemporary Chinese fashion designer; with the shadow and passion of dreams in his memory, he embarked on a road to realize the dream of the fashion brand kingdom.

    His success stems from rich cultural connotations, and at the same time stems from his low-key and unremitting pursuit of dress.

    Interview with Mr. Zhang Zhaoda after the opening ceremony in October 20th, on the 25 day, I sent an interview draft to Mr. Zhang. He distributed it to me at 2:44 am 26.

    Before joining the fashion week in Wuhan, I first learned about Mr. Zhang's information. I know he has many honors, but in the introduction he only wrote a gold top costume designer.

    He is one of the most appreciated among many of my designers, not only because of his previous experience, but to the fact that after a person has a story, he still keeps his heart in a certain field, still respecting every person in all walks of life, always holding the pure love in his life journey, and keeping a normal life with design and calligraphy.

    I think the spirit of Mr. Zhang's craftsman has continued to enrich his artistic creation and life experience with the rich and colorful "life of existence".

     

    Jiang Cheng Su

    Before the press conference



    Jingchu culture is the design concept.

    Chu Chu, Han Embroidery, Karp brocade, bronze patterns and other traditional techniques representing the culture of Jingchu run through the whole field. In the visual collision between the ceremonial Chinese and Western style dress and leisure cowboy, it tells about the rich and magnificent civilization of Jingchu.

    The conference opened with fresh and elegant ice cream dress.

    The waist is designed with a stiff fabric printed with unique tantalizing grain and Kuiwen patterns in bronze, combined with soft brocade of Karp.

    "Karp" is a tapestry of Tujia people in Enshi, Hubei. According to the Tujia custom, in the past, when the Tujia girl married, she had to make beautiful "Karp" on the weaving machine platform, symbolizing the people's desire for a better life.

    In the following cowboy series

    In the details of cuffs, shoulders, backs and clothes, bronze patterns are used to form the concept of "Bu Zi" in Han Embroidery costumes.

    A square pattern decorated on the front and back of the Ming Dynasty official uniform, a kind of official badge on official uniform, is pasted in the representative of the unrestrained cowboy, highlighting the opposition between modern culture and feudal dynasties, marking the special cultural connotations of Jingchu's land in history.

    At the end of the conference, a large number of chiffon, silk and beads were used to make a new Chinese dress. In the design cut of cuffs, necklines, waist and so on, the characteristics of Chinese traditional costumes were extended, and the classical patterns of Chu Feng and Chu long were integrated into Chu embroidery.

    Zhang Zhaoda: from the beginning

    A kind of

    After knowing your experience, how did you combine your life experience, cultural and artistic connotation with costume design?

    I always think fashion is too frivolous and utilitarian, and culture is the soul of clothing.

    If there is no soul, all expressions are empty.

    Therefore, with the design of cultural conservation, we can bring the confidence of design and the life of works.

    Clothing also needs to search for the soul and artistic depth from the classic art, and find the starting point and fulcrum of its creation and creation.

    I injected the means of artistic painting into fashion creation, and used it as the pivot and starting point of the soul to create a structural artistic means of making clothes with lines.

    Using the principles of sculpture, the means of painting, Oriental elements and new ideas, new combinations are shown.

    It pcends the great cycle of costume design and creates many new design languages.

    At the same time, I also use all kinds of fabrics, colors, lines, texture, profile, decoration, and more intuitive, more concrete form of visualization to express my artistic awareness and thinking.

    All my creations are to express my unique life experience in a unique and pure artistic way.

    Every piece of my creation is a record of my life, depicting the changes of emotion and imagination in the course of life.

    I have integrated my understanding of the soul into my own understanding of eastern and Western cultures. I have always been eager to create a new art form that can inherit Chinese art and merge with western aesthetics.

    Your style is exquisite and elegant. How do you find inspiration and continuity in your life?

    I use romantic logic to express my desire for freedom and self reflection.

    I try to express my free and romantic experiences and feelings in the light and shadow of form, rhythm, material and symbolic meaning.

    I like lots of fresh things, even absurdity, I can accept it. I am enriching my artistic creation and life experience with colorful and colorful "existing life".

    From the artistic form of vision, I want to find the color that makes people feel free, comfortable, happy and beautiful.

    I yearn for beautiful, romantic, and quiet beauty.

    At the same time, I want to make some speculative and cultural philosophic thinking in the holy world.

    How do you realize your dream of youth through design? What is the greatest courage that design brings to you?

    I often say that fashion design is my vocation and art is my hobby.

    I have been practicing painting and writing since childhood. I have never abandoned the pursuit and love of painting. Painting and writing have always been part of my life.

    For many years in fashion design, my greatest experience is that when people are at rush hour, they see their own wounds, and remember the lonely long distance, raising the increasingly small sense of reality.

    Calm, quiet, watching the dream of the bottom of my heart and weak and stubborn vision, silently practice.

    What is your understanding of art?

    How did you achieve a uniform style?

    All kinds of art fields are the means of expressing my own life experience. Different writing techniques convey different levels of emotions and thoughts, record the changes of emotion and imagination in my life course, and show each time that I share the experience of life experience with my common sense.

    In the long history of history, the form of art has changed drastically, and the essence of art has not changed. I have been thinking about and exploring the essence of art. I hope my creation can be close to the essence of art.

    I have been wandering between the autonomy and objectivity of abstract art.

    At first, I think that the pure art world is not influenced by its own experience and emotions. It strongly wants to express objectivity in my paintings and express a beautiful picture that takes away from one's own feelings.

    I try to open my mind and create with space and opportunity, without thinking about composition, brushwork and color. Just like my hands and my people are only extensions of this space and time.

    In the process of continuous creation, I find that no matter how hard I try to detached myself, I can not really get rid of the influence of "I" on my paintings.

    Even if I think a heart is a stroke, it is through my skillful technique; even though I have no thought of composition, I have a vague whole in my mind in every stroke.

    It seems that it is more objective to endow human action with the mental agility of the picture. However, I do not want to give up the feeling of fluency and vividness in my brush, and I do not want to abandon the picture of the feeling of being full of "human".

    I have always believed that art is the beauty of human creation, and art should not be allowed to exist in a world without human feelings.

    What do you think is your greatest spirit and complex in the field of clothing?

    Fashion designers are fashion makers and leaders.

    T is shining brilliantly, flowers, applause, acceptance of the highest glory, loneliness and helplessness, facing the exhaustion of inspiration.

    Creation is full of things and thinking jumps, but reality requires self regulation and moral belief.

    In the face of such contradictions, if we remain honorable, we should not only be happy to work together and receive respect from society, but also abide by the common moral principles, and cultivate noble moral sentiments and moral qualities of Tao Zhu and Gao Jie.

    Predict the direction of dress in 2019.

    The upsurge of the Chinese wind will continue to heat up under the current international trend.

    A large number of Oriental symbols and materials, such as some Oriental totem, seal, Chinese characters, are added to the designer's aesthetic thinking. Fashion design and international sense of dress design will continue to emerge in the design.

    But I think this is not enough, because it is only stiff in the Western clothing logic to add Oriental symbols.

    In the future development of Chinese clothing, we need to integrate Oriental life into design and create an international and fashionable work that can bring out Oriental lifestyle.

    Such as tea's life taste, Zen culture, literati painting style of life and so on.

    This must be carefully traced back to the way of life representing the East, looking seriously in the long history, choosing every designer's most confident and perfect way of life in fashion, creating a non symbol with unique ideas, but with a heritage meaning, with a life style that is worth studying deeply, so that we can create historic designs.

    *

    "When we are faced with all kinds of ancient things in design, we must first learn from what we need now and what we need from our hearts, then learn from our predecessors and learn from them.

    When we find their spirit and the results they expect, we can reappear them in a large number of applications of modern technology and modern technology, so that we can truly make the national costumes representing the Oriental elements and show the International Oriental design.

    -- Zhang Zhaoda (editor in chief Yu Shuya)


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