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Why Are Chinese Elements So Popular In The Clothing Industry?

2011/12/29 13:23:00 11

Nowadays, fashion Has entered globalization. Many international brands began to embody Chinese elements in the design. At the beginning of the end. China International Fashion Week Many local designers have presented works with Chinese characteristics, such as Shi Jie's ink and ink prints, Chu Yan's ink and lotus leaf paintings, and Ceng Fengfei's auspicious dragon patterns. No matter the improvement of traditional elements or the westernized tailoring of Chinese and Western styles, the use of Chinese elements is more in-depth and full of the characteristics of the times.

Chinese elements are coming again, and their popularity is international. Clothes & Accessories What is behind the world? Can Chinese elements become a stepping stone to the world of Chinese clothing? We have invited three fashion designers who are fond of Chinese elements to discuss this topic together.

Brand designer Shi Jie 2012 spring and summer women's wear works

Chinese culture conforms to contemporary demands.

Shi Jie: the fundamental reason behind the continuous appearance of Chinese elements is Chinese culture. Chinese culture conforms to the needs of the times and meets the aspirations of modern people. It is a culture that can lead the future survival state.

2012 in the spring and summer fashion week, the water and ink elements designed by Shi Jie are not only static prints printed on cloth, but also dynamic dance steps. The white petticoat is covered with a black semi permeable cloth with a pendant feel. It swings silently and quietly with the skirt of the model. This kind of ingenious design from static to dynamic may only be understood by Chinese talents.

Shi said that his design was completely following his heart. When he applied Chinese elements, he thought less about rational things. Maybe designers are very sensitive to the society. Sometimes, this kind of inner feelings coincides with the characteristics of the times.

In recent years, there have been many problems in the developed countries under the Western cultural background. Especially the progress of science and technology has caused great damage to the environment. People are beginning to realize the conflict between western culture and the development of the times.

Shi Jie said that his use of Chinese elements is precisely because he has found a point of agreement with his inner feelings, which is a deep, indifferent and inconstant meaning, which is expressed in Chinese culture. For a long time, western design has always dominated the discourse of international fashion, and the west is the international one. But culture does not divide the advantages and disadvantages. The fundamental reason behind the continuous presentation of Chinese elements is Chinese culture. The life state advocated by it is more demanding at the moment, and it is a culture that can lead the future survival state. The popularity of Chinese elements is mainly due to the adaptation of Chinese culture to the times and the psychological demands of modern people.

At present, many Western designs like to use Chinese elements and are more successful than Chinese. For example, the use of international brands such as Dior for Chinese knots and cheongsam collar not only touched Western consumers, but also captured the hearts of Oriental consumers. Shi Jie believes that this aspect shows that Western designers have recognized the spirit and outlook of Chinese culture. On the other hand, the western big name industry chain has been well coordinated, and their team, packaging, publicity and other aspects of the system are more perfect, which makes them more comfortable in expressing Chinese culture. Moreover, its brand's deep foundation has the brand advantage of historical precipitation.

But in fact, the true interpretation of Chinese elements still depends on Chinese expression. Only Chinese can touch and experience the deepest meaning. At present, for many brands, it still takes some time to settle. As long as there are opportunities, Chinese designers can strengthen international exchanges, and then feedback to the domestic design, better expression of Chinese culture and international commonality.

Shi Jie said, at present, Chinese popular aesthetic is very easy to be influenced by western design. Most people are in a passive acceptance state. Sometimes, Chinese designers' works need to be recognized internationally before they can be accepted in China. {page_break}

Ceng Fengfei's 2012 spring and summer works

Shi Jie emphasized that China must go to the world with Chinese elements, but the Chinese element is not a concrete thing. Chinese elements are best known as Chinese style and Oriental spirit. They represent a natural view and a world outlook in the East. Although the current design is often westernized, it is believed that pure westernization is internationalized, expressing beauty in an alternative and weird way. However, broad and profound Chinese style and Chinese spirit are the driving force and source for creating beauty and creating internationalized design with the characteristics of the times.

Speaking of the future direction of Chinese designers, Shi Jie hopes that the future creation should be based on satisfying Chinese consumers, while designing wearable garments, and constantly improving and deepening their artistic expression, exploring their cultural advantages and returning to themselves. To synchronize China's genes with the world, including buyers and exhibitions, broaden our horizons and expand our channels. Chinese designers must be able to create works that are against the West.

Diversification of Chinese elements

Ceng Fengfei: presenting Chinese elements and expressing Chinese culture is the mission of Chinese designers. Chinese designers must have their own characteristics so that they can have a chance to talk with the world. Otherwise, what China does is always the shadow of the West.

2012 in the spring and summer fashion week, Ceng Fengfei takes Chinese elements as the core value of the brand, runs through the design style of "middle school as the body, Western learning as the use", and uses bold blue, Rubus red, orange red and other bright colors. The gorgeous and atmosphere shows China's unique prosperity and literati breath, and shows the spirit and grace of a man in a steady manner. Interspersed with the auspicious dragon pattern, fully deduces the charm and essence of Chinese traditional culture.

As a Chinese designer, Ceng Fengfei said that it is his mission to present Chinese elements and express Chinese culture. Chinese designers must have their own characteristics so that they can have a chance to talk with the world. Otherwise, what China does is always the shadow of the West. Chinese designers must first have their own base to support, which is Chinese culture.

The use of Chinese elements by foreign designers also fully proves that Chinese culture is unique. Therefore, Ceng Fengfei has always firmly believed that China must go to the international arena. We must have the courage to encourage each other and make Chinese clothing stronger than one person can do. Although today's dominant western style of discourse is the west, there are still many things that Chinese designers need to do, but persistence is strength. What we need to do now is to do well and accumulate design details.

Ceng Fengfei also stressed that the Chinese elements must be a stepping stone to the world, but it does not mean that we must have Chinese elements to go to the world. The development of the society is diversified. Every brand development is different. We must stick to the brand's own style and create the brand's own characteristics while we are flourishing. Otherwise, the things that can be satisfied with the trend can only be neither fish nor fowl. {page_break}

Chu Yan 2012 spring and summer works

Ceng Fengfei thinks that when Chinese designers improve themselves, they must make more comparisons, learn more about foreign things, and then return to do their own things, so that they will stand at a higher level to design, because the products they design are not only their likes, but also the recognition of consumers. The recognition of consumers is the motive force for the continuation of design life. Following the market and following the needs of consumers, we can make the design work more depth, otherwise it will not go further.

When it comes to the process of Chinese brands going to the world, he is full of emotion. Chinese designers should have confidence in themselves. Once China's brand is strong, China will have a say in the world. By that time, the Chinese would be very rational to look at the clothes designed in China, and the world brands that dominate the market will slowly fade out of the public view. With the improvement of Chinese aesthetic taste, the continuous progress of China's design, China's brand has a foothold, production, consumption and design can be completed independently, then China's brand does not need the recognition of the world, and it can also stand proudly in the international brand forest.

Understanding Oriental aesthetic and cultural roots

Chu Yan: the design with Chinese flavor is not a simple superposition of Chinese and Western culture, but a profound understanding of Oriental aesthetic and cultural roots, and an innovative design suitable for modern life and aesthetics.

To make fashionable Chinese design is the goal pursued by Chu Yan. She has registered the brand for several years' Studio Chu and Xiang Xiang, which contains a strong Chinese flavor. At the end of 10 China International Fashion Week, Chu Yan expressed his fashion attitude for the first time with a complete fashion show.

During the 50 year celebration of Beijing Institute Of Fashion Technology, Chu Yan's work left a deep impression on the reporters. The elegant blue green and the upturned lotus pattern were fitted with exquisite pegs, rigorous and rich.

This year's press conference of Chu Yan is also designed with lotus as the core element. The lotus, lotus leaf and lotus canopy are more beautiful and smooth. The line is more suitable for lotus in Chinese mind.

Chu Yan said that this is just a coincidence, did not deliberately put lotus as the theme of the two creation, and this choice of chance, it can be seen that the love of lotus has been hidden in the heart of Chu Yan. Hehe and homophones have a very deep meaning in Chinese culture, and the words in Chu and Xiang Xiang seem to represent some allusion.

Chu Yan, who grew up in Xi'an, has a persistent love for Chinese traditional culture. This love has penetrated into her temperament and is reflected in her every work. The graceful lines of lotus leaves convey the Chinese flavor of elegance and Gao Jie.

Many designers are concerned about Chinese traditional culture, and many people like Chu Yan hope to fashion Chinese traditional culture. Of course, some of them are metaphysical, while Chu Yan is quite clear. She hopes to express oriental charm with oriental aesthetics and innovate on the basis of inheriting Chinese culture. Oriental aesthetics is quite different from western aesthetics. To make a design with Chinese flavor, first of all, it is not to rush to do simple overlay of Chinese and Western culture, but to deeply understand the aesthetic and cultural roots of the East, innovate on this basis, and make some innovative designs suitable for modern life and aesthetics. The foundation of innovation must be inheritance.