Ruyi 2012 China Fashion Forum: From Fission To Reconstruction

　　 Design needs context

When China becomes an international arena, Chinese designers and brands are beginning to get entangled: what is the significance of Oriental culture and its future in Chinese design and even in the future of the world? How far does the western fashion language influence the growth of Chinese design? Is the local market a chance or challenge for Chinese design? Why do international brands play the role of Chinese elements like a duck to water and start to pry the Chinese market? While good Chinese design can only be regarded as a small group in the international stage, while the weaker ones often face the embarrassing situation that the use of Western vocabulary is regarded as nothing new, and the Eastern language is also regarded as a lack of creativity to show off the Chinese concept. When the international brand is eyeing the Chinese market,

Yamamoto Teruji, Wakubo Rei and Lssey Miyake, who are well-known Japanese designers, are well known in the world. His works are respected not only by the world, but also by national characteristics. We are thinking not only that East China, however, has no such heavyweight master in the world, but will also think about how Japanese designers have brought the eastern culture to the world and won the same recognition.

Good designers need the ability to nourish themselves from a variety of civilizations. The global village created by modern information technology has made this kind of interaction across the region and history become the best help for the development of the design itself. Extensive and profound oriental civilization is showing its unique charm of Zen and its consolation meaning different from western realism aesthetics. In fact, the most popular trend of thought today, such as natural environmental protection, is the core of "harmony between man and nature" in Laozhuang philosophy that lasted thousands of years in China.

However, for local designers, this does not mean complete good. Because it is far from enough to have the advantage of "close proximity". You have to take the unified transportation system -- the whole world. fashion Context. That is to say, no matter what kind of cultural landscape and historical gene, we must get the recognition of international fashion through the transformation of universal design language.

The so-called global fashion context is actually attached to the strong. Main stream Cultural. The influence of mainstream culture, based on the economy, takes all kinds of cultural phenomena such as movies, music, football, social networking and other cultural phenomena as the channel to control the public's aesthetic and even human's psychology and behavior.

Over the past 30 years of reform and opening up, although China has been expanding its international influence through large-scale international activities such as "Olympic Games" and "World Expo", based on the basic facts of economic strength and comprehensive national strength, we are still in a long period of time and will continue to be in the cultural and fashion outlet. Whether it is fashion design, or architecture or landscape design, its evaluation criteria for creative innovation are still based on Western fashion value system.

Therefore, if we want to win the recognition of international fashion, Chinese design will first learn and respect the existing rules of the game. It can not be denied that the systematic development and utilization of cultural elements designed by the West for years has a stronger control over the sense of gravity and the spirit of crossing the region. Without the formation of its own methodology system, Chinese design divorced from the global context is easy to fall into the simple abuse of some kind of Chinese elements, lack of systematic and deep cultural value development, and lack of panoramic presentation based on a characteristic culture, which is regarded as "showing off the concept of lack of creativity".

But respect does not mean lack of independence. What can be seen clearly is that the fashion brand from the western world is interpreting the Chinese culture in their eyes, especially in the high-end consumption field, even affecting the Chinese young generation's cognition of the local culture. When the whole world is "stealing" the eastern culture, if it is just chasing after the fashion of the Western paradigm, lacking the awakening and understanding of the self foundation, Chinese design will easily get involved in the whirlpool of the western mainstream culture, which will be denounced as "no new imitation".

Ruyi 2012 China clothing The forum argues that in the future, a truly powerful Chinese design should be the understanding and interpretation of Chinese cultural heritage on the basis of traditional and modern aesthetics and the integration of eastern and Western trends of thought. It is not the symbolic details that appear on the product, but the Chinese culture that uses the language of the world, and it can and is recognized and pursued by the world as a philosophy of life in the East. Otherwise, Chinese design is not only difficult to compete in the international fashion system, but also more severe and cruel. It may lose the right to interpret the local culture.

Chinese design has been deep in the "use of Western vocabulary is regarded as plagiarism, while the use of Oriental traditional vocabulary is regarded as an embarrassing dilemma to show off the concept of China", like a small bee in that glass bottle, can see the light, but can not find a way out. Where to design? Not only designers, but also the focus of brand thinking. What is the future of Chinese costume design? What kind of unique cognition and brand should be built? Where can new creative inspiration be found? How can we express modern values with traditional elements? How can we express Chinese Philosophy in a world language? In the final analysis, the conflict between tradition and modernity, East and West lies in the difference between the internal order of culture. Act as brand And designers, how to eliminate and integrate cultural conflicts between new and old, East and West?