The Fashion Road Of Paying Attention To Textile Intangible Cultural Heritage Will Be Wider And Wider In The Future

In the context of the rapid development of modern industry, social production efficiency has been improved rapidly, and people's life concept and consumption mode have undergone profound changes. Intangible cultural heritage, as the accumulation of traditional culture for thousands of years, seems to be incompatible with modern life. In the past, most of the handicrafts undertaking the production of daily necessities were replaced by machines, which, to a certain extent, complemented the lack of individuality in large-scale industrial production. So, how should intangible cultural heritage coexist harmoniously with modern life style and high technology?

The fashion exploration of textile intangible cultural heritage can be used for reference. In recent years, as the most commonly used handicrafts in China's traditional clothing, textile intangible cultural heritages, including weaving, dyeing, printing and embroidery, have been frequently seen in people's eyes by means of innovative development mode, integrating into fashion brands, enriching communication paths, and broadening industry boundaries. It has been "weeded" by many young people, which has laid a good market foundation, and is walking with rich oriental charm On the road of inheriting ancient wisdom and telling regional stories.

Interdisciplinary cooperation: injecting new momentum into "intangible cultural heritage +"

In recent years, the Ministry of culture and tourism has vigorously implemented the project of inheriting and developing Chinese excellent traditional culture. With the cooperation and active participation of relevant departments, colleges, enterprises, news media and industry associations, China's intangible cultural heritage protection and inheritance work has been deepening, laws and regulations system has been gradually improved, protection and inheritance mechanism has been effectively operated, and activation practice has become increasingly rich. Textile intangible cultural heritage, as the most closely related technology with people's life, is constantly participating in people's life through the cross-border integration of "intangible cultural heritage + education", "intangible cultural heritage + art".

As one of the first batch of Pilot Universities of the former Ministry of culture, Ministry of education and inheritors of China's intangible cultural heritage, Beijing Institute of fashion has always attached great importance to giving full play to its discipline and professional advantages, and actively engaged in the protection and development of intangible cultural heritage, especially in the inheritance and modern application of Chinese traditional clothing and clothing culture. Ni Saili, deputy secretary of the Party committee of Beijing Institute of fashion, introduced that in June 2017, Beijing Institute of fashion signed a strategic cooperation agreement with the Gongwangfu Museum of the Ministry of culture to carry out the brand activity of "Splendid China" guided by the Intangible Cultural Heritage Department of the Ministry of culture and hosted by the Gongwangfu Museum of the Ministry of culture, so as to promote the modern transformation and expression of textile intangible cultural heritage and step onto the fashion stage. In June 2018, Beijing Institute of fashion and Gongwangfu Museum of the Ministry of culture and tourism jointly established the collaborative innovation center of China's traditional crafts revitalization plan, making full use of textile technology resources to build an academic platform, and constantly explore new ways of deep integration of textile intangible cultural heritage and modern fashion life.

There is a natural connection between arts and crafts and intangible cultural heritage. Ren Jianxin, vice president of the China Arts and Crafts Association, said that over the years, the China Arts and Crafts Association has actively participated in various intangible cultural heritage activities. From a professional point of view, it has established brocade and embroidery committees to promote the innovation and development of textile intangible cultural heritage. "There are a lot of national, provincial and municipal masters in China Arts and Crafts Society. They are actually craftsmen. Therefore, we should make art and intangible cultural heritage have a connection. We should refine the excellent cultural genes from the perspective of intangible cultural heritage and present them in the way of Arts and crafts." He said that the innovation and development of textile intangible cultural heritage needs to inject artistic strength.

Multi dimensional innovation: change of trend and invariance of gene

If intangible cultural heritage wants to be continued in the contemporary era and move towards the future, it is bound to take the road of innovation. In recent years, the development mode of textile intangible cultural heritage has been innovated in many ways, such as integrating brand, creating IP, introducing technology and fashion.

According to Li Wei, a professor at the Academy of fine arts at Tsinghua University, the intangible cultural heritage project contains the DNA of Chinese excellent traditional culture. "In many parts of China, including ethnic areas, there are splendid cultural heritages. We should find them out, refine the DNA of traditional culture through research, and make innovative use of them." Li Wei said that the use of Ma or Li brocade to make a garment is an original continuation of a material or a skill from the historical dimension. However, in order to make the intangible cultural heritage technology move into the future, we need to innovate from the perspective of art. Earlier, Li Wei's series of works "new Chinese dress" was permanently collected by Victoria and Albert Museum of England, and began to be exhibited in the museum as a permanent exhibit in November 2019. "New Chinese dress" endows silk with different thickness and texture, combined with Chinese painting like blue and white light color, and carefully cut into a modern style, which reflects her exploration and Research on Chinese traditional culture in dress design, and interprets the charm of innovation and development of traditional culture with modern language.

Fashion and innovation will eventually go to the brand. In the eyes of Yu Dan, the representative designer of d.rita Beijing embroidery, cultural gene is the "soul" of the brand. "Without the inheritance of tradition, innovation has no soul, and it is difficult for fashion innovation brands to open up and occupy the market," she said

However, how to quantify intangible cultural heritage products? "The song brocade we made with imported digital machines has been questioned:" how can this be called Song Jin? Song brocade is made by hand. " Therefore, we went to experts to check the pulse and analyze the process and other aspects. The result is that the process has not changed, but the means. " Wu Jianhua, chairman of the board of Suzhou shangjiukai silk technology and Culture Co., Ltd., said that with the passage of time, textile equipment is constantly improved, but the process can not be changed. Only in this way can we carry out innovation and development on the basis of inheriting cultural genes, promote product quantification and go to the market. "I think there is no contradiction between heritage protection and innovative development. The development of industrialization should be in line with the current fashion trend. Static protection and inheritance may not be able to withstand the test of time, while the live inheritance towards the market will certainly promote the intangible cultural heritage to the future." He said.

All media communication: showing the fashion charm of textile intangible cultural heritage

Due to the influence of age and other factors, the dissemination of intangible cultural heritage has entered a bottleneck period. In recent years, with the joint efforts of all sectors of society, intangible cultural heritage, especially textile intangible cultural heritage, has made use of various media, greatly expanding the boundary of communication work.

Ni Saili introduced that in 2014, Beijing Institute of fashion designed costumes for leaders of APEC conference, integrating Song Jin and other intangible cultural heritage elements into leaders' clothing; in 2019, more than 100000 people dressed in Chinese style costumes walked through Tiananmen Square in the celebration of the 70th anniversary of the national day. Through large-scale conferences and activities, the world saw the unique charm of Chinese costumes.

CCTV financial channel's reality show "fashion master" scored 8.8 points in Douban in the second season. It is a program in which fashion designers, entertainers and fashion culture people interpret fashion topics and create fashion works. "The program, in the form of variety show loved by young people, spreads the profound and profound Chinese excellent traditional culture, and adheres to the integration of textile intangible cultural heritage into the creation and innovation of designers at home and abroad." Zou Lin, producer of "fashion master", said that the second season of "fashion master" generated more than 60 hot searches on major media platforms and obtained 2.3 billion exposures. The information conveyed by this data is that the way to spread intangible cultural heritage with variety shows as the carrier is worth exploring and using.

In recent years, the Internet has spread a large number of stories of inheritors of intangible cultural heritage, and the public also feel the unique charm of intangible cultural heritage. However, in the era of information explosion, hot topics are updated rapidly. Zhou Minyan, deputy director of customized content of mango TV integrated marketing, said: "for the dissemination of intangible cultural heritage, it is far from enough to just be online hot topics. We should also understand the voice of young people, insight into the psychology of young people, and combine their needs and aesthetics to create intangible cultural heritage IP, so that it can go to the public in a more vitality and continuity way."

It is an effective way to make secondary use of film and television clothing integrated with Chinese traditional skills. "So far, we have held more than 20 exhibitions around the world using film and television clothing. We hope to continue the TV series brand in the form of exhibitions and attract young people to pay attention to intangible cultural heritage." The founder of a film and television company said that in the future, intangible cultural heritage elements will be fully utilized in modern drama to restore the application of intangible cultural heritage in life with the scenario plot.

Expert study and judgment

Looking at the national costume with the concept of integrity

Liu Kuili, member of the honorary Department of the Chinese Academy of Social Sciences and director of the expert committee of the national intangible cultural heritage exhibition and Research Center

When it comes to heritage, we always think of it as something of the past. How can it be connected with modern life?

Intangible cultural heritage is not a memorial tablet, which can not be provided. It has value and significance only if it is continued and developed.

Clothing is very important. In addition to the most important cold protection, we also have an important feature, that is, clothes not only show personal feelings and aesthetic standards, but also reflect the attitude and etiquette, which is the cultural expression of a region, a nation and a country. For example, when we go to a meeting in formal clothes, it must be a serious meeting; when we go to a wedding, we'd better not wear black; when we go to a funeral, we may be beaten out in red.

Therefore, it is very important to seek the representative clothing of the Chinese nation. By what to position the style of the representative clothing of the Chinese nation?

People contact with the outside world all through the material, rarely through the material to see the non-material nature. When people wear clothes, they hardly think about how clothes are made, what materials and techniques are used. As a material object, the Great Wall is said to be made by Qin Shihuang, but did Qin Shihuang move a brick? People ignore the very important immaterial connotation.

In the past 20 years, people have realized the relationship between material and non-material, and began to attach importance to the protection of non-material. But in this process, over emphasis on the immaterial connotation leads us to the other extreme: to abandon the material.

Therefore, we should treat the style orientation of the representative clothing of the Chinese nation with a holistic concept. For example, when watching fashion shows, we should not only see the clothing, but also see the story behind the clothing, including design, production, process, materials, etc. I think, in this sense, the Chinese national costumes, which contain a lot of intangible cultural heritage skills, are not only costumes, but also carriers to show the wisdom and charm of the Chinese nation.

Looking for new impetus for the development of textile intangible cultural heritage

Sun Huaibin, vice president of China Textile Industry Federation

In recent years, the inheritance and development of the textile intangible cultural heritage seems to have a distance from the development of the entire textile industry in terms of volume and efficiency. Why? I think that the inheritance and development of textile intangible cultural heritage must find new driving forces, including the transformation of scientific and technological achievements, investment in fashion design, drainage of network communication, etc.

In fact, with the transformation and upgrading of the textile industry, there are new requirements for the cultural connotation of the products. It is necessary to draw nutrients from the traditional culture, which provides the foundation for the development of the textile intangible cultural heritage.

As the intangible cultural heritage of textile has the characteristics of life and product, the marketization only needs to open up the channels of supply and demand. In recent years, the online promotion and offline display channels of intangible cultural heritage have been pushed forward, but there are still many problems to be improved. For example, the offline Intangible Cultural Heritage Expo held every year is only a small exhibition area in a large exhibition, which leads to the small scale of the exhibition, unclear segmentation and weak professionalism, which makes it difficult to form a greater influence. Another example is the popular fashion show of intangible cultural heritage in recent years. Many designers pay special attention to infusing national culture, feelings and self-cultivation into their works, which often makes the works more artistic than commercial. Of course, this is a very good way to inherit the excellent traditional Chinese culture, but at the same time, I think fashion shows should evaluate the transformation of commercial effects. Only when more people are willing to spend can they really integrate into life.

According to statistics, in 2020, the sales volume of clothing and home textiles in major e-commerce platforms will be 800 billion yuan, which shows that their potential is huge. E-commerce platform has its special law, it needs flow. Traffic can bring orders, high praise and performance. Therefore, intangible cultural heritage products should conform to the current aesthetic, get the favor of young people, and bring traffic through the "Internet red", so as to enter the market and life.