Exhibition place：Fashion Gallery, China Silk Museum
Exhibition time：2018.10 - 2018.12
Organizer: Zhejiang Provincial Department of Culture, Bereau of Cultural Relics of Zhejiang Province
Host: China National Silk Museum
Co-Organizer: Silk and Fashion Culture Research Center of Zhejiang Province, Zhejiang Schi-tech University
Preface
Garment can be regarded as a historical picture on the body, which is the most sensitive vane of fashion change. And it records in a non-text form of historical changes, social development, the progress of civilization, the transformation of people's way of thinking.The brilliant achievements of 40 years of reform and opening up can be found in the most intuitive and subtle way --- the changes of people's clothing in different times.
The 40 years of reform and opening up is also the 40 years of the development of China's garment industry. The clothing art and fashion culture have awakened, collided, merged and changed in these 40 years.“The nation is the world”, which is the most common attitude and concept when Chinese art and culture spoke to the world at the beginning of reform and opening up.As China moves towards the world, the elements of traditional culture and national style in fashion also show obvious characteristics of the times, showing the growing cultural confidence of Chinese design and Chinese fashion.
The exhibition is divided into four parts. Taking the changes of Chinese elements as a clue, the symbolic works of important designers in the process of Chinese fashion development are selected. It shows the inheritance of Chinese fashion culture, the understanding of itself and the perception of the world. It also reflects the changes of Chinese people's aesthetic consciousness, consumption level and lifestyle. The foundation for those changes is the rapid development and great achievements of China's fashion education, industry and market.
Part 1: The Age of Innocence (1978-1992)
Once upon a time, Chinese people were called “blue ants” by Western medias because of their monotonous clothing styles and dull “blue、 black、 gray”tones.In 1978, the spring breeze of reform and openning-up swept the land of China. Great changes have taken place in China. People's long-sleeping love for beauty has been released, their clothes are becoming increasingly colorful.Even a novel, a movie, a game would trigger the enthusiasm of the people of the whole country, forming a national popularity, leaving a memory of the times.
Poster《街上流行紅裙子》：1984年長春電影制片廠攝制的《街上流行紅裙子》，是改革開放后第一次以時裝為題材的電影，記錄了80年代初期人們思想觀念的變化，是繼《廬山戀》之后又一部引領(lǐng)時尚的作品。銀幕上的“紅裙子”，是中國女性從單一刻板的服裝樣式中解放出來，開始追求服裝色彩和樣式的一個標志性道具，自此，一個多色彩的女性服裝時代正式到來。
梅花牌運動服：幾乎每個80后學(xué)生時代都穿過的服裝，梅花、李寧、回力、飛躍……這些國貨名牌，伴隨著改革開放后年輕一代的青春成長，如今又在新國潮的時尚中獲得了新生。
Part 2: Native Land Emotion (1993-2008)
Beginning with the first “Brothers Cup” China International Youth Fashion Designers Competition in 1993, the first generation of Chinese fashion designers came on the stage after the reform and opening up. Most of these designers have the education background of art schools, ups and downs of life experience, and have a strong sense of patriotism and mission.The work reflects a deep love for Chinese culture, inspired by traditional cultural symbols such as Dunhuang and Qin figurines, and adopts artistic design language to express a deep feeling of home and country.
重點展品：
吳海燕《鼎盛時代》：作品精心提取中國傳統(tǒng)文化元素，竹編頭飾富有中國古典亭臺樓閣的造型意味，通過手繪絲綢和對比感的配色來表現(xiàn)極具古韻風(fēng)味的時裝藝術(shù)效果。
馬可《秦俑》：作品通過藝術(shù)化的材質(zhì)搭配再現(xiàn)古代秦俑樸拙而威武的風(fēng)采，將中國的傳統(tǒng)內(nèi)涵轉(zhuǎn)換成現(xiàn)今的創(chuàng)意精神。作品具有張力，渾厚、質(zhì)樸而博大。
裘海索《尋鳳行鳳循鳳》：作品將具有千年文化積淀的傳統(tǒng)手工染色精華——蠟染作為設(shè)計主體，用具有質(zhì)樸、原始、自然的傳統(tǒng)染色技法表現(xiàn)耀麗的紋飾圖樣，將傳統(tǒng)工藝與現(xiàn)代時裝造型相結(jié)合，使時裝樸實中現(xiàn)華麗。
郭培《2008北京奧運會頒獎禮服》：2008年北京奧運會頒獎禮服系列中的三款（國槐綠、玉脂白、寶石藍）。國槐綠系列寓意蓬勃朝氣、生命力，體現(xiàn)了與自然和諧發(fā)展的美好愿望及堅守“綠色奧運”的決心。寶石藍系列采用溫潤典雅的寶藍色作為禮服主色，腰間飾有采用傳統(tǒng)盤金繡。玉脂白系列巧妙地呼應(yīng)了奧運獎牌金鑲玉的理念，彩繡腰帶和玉佩的組合，既是中國玉文化的完美再現(xiàn)，又是對傳統(tǒng)旗袍設(shè)計的創(chuàng)新。
Part 3: Chinese Elements (2009-2018)
After the 2008 Beijing Olympic Games, the spread of China's image has entered a new stage.Chinese elements have become a popular style in the international fashion arena. While synchronizing with international fashion, local designers have changed their grand narrative of Chinese elements, which does not have to carry the mission of voicing to the world, or inherit the profound Chinese culture, but is reduced to the design elements of clothing itself. They use a more mature and fashionable design language to display the luxury, elegance and mystery of Chinese elements.
重點展品：
呂越《中國印》：作品是2009年為中華人民共和國建國60周年慶典活動而設(shè)計制作的。60枚印章分別代表新中國走過的60年歷程。服裝采用中國老百姓喜聞樂見的大紅色，以帶有傳統(tǒng)紋樣的中國絲綢與西式晚禮服款式結(jié)合的造型，將東方和西方元素有機的結(jié)合起來，傳遞不同文化的視覺印象，呈現(xiàn)出西方文明與中國傳統(tǒng)的融合。
劉君《墨色》：作品將“云一縷、玉一梭，玉樹瓊枝作煙蘿，和月和花”的中國古典詩詞意境與現(xiàn)代時裝設(shè)計手法相融合，墨色霧紗中隱約白色纏枝煙羅，內(nèi)件小禮服輕紗層疊堆砌出煙墨暈染、月色華美的效果，通過材料質(zhì)感與多層次設(shè)計來營造時裝整體的意境之美。
薄濤《水瑟丹青?白云紅樹圖》：作品以故宮博物院的藏畫作為設(shè)計元素，創(chuàng)造性地將明代藍瑛的《白云紅樹圖》融入設(shè)計優(yōu)美曼妙的時裝，運用織、染、印、繡等工藝將書畫濃縮于一件充滿了東方典雅的禮服之中。把中國優(yōu)秀古典文化與現(xiàn)代時尚巧妙融合，充分再現(xiàn)經(jīng)典的傳承之作。
Part 4: The Great Power (2018——)
After 40 years of reform and opening up, China's fashion has become a clear and vivid image --- which starts from 5000 years of civilization, is inherited after new China, and flourishes in contemporary China.The current Chinese fashion has shown a state of blossoming, has different elements and styles, various design language expressions, and use of various new materials and high-tech. It is, or heavy or light, or bold or restrained, or aesthetic romantic, or personality trends, the great power.
重點展品：
王雷《今日大漢》：作品以漢代服飾為造型元素，收集大量記錄當下時事和新聞報道的報紙，經(jīng)過挑選、裁切、粘貼、抽取、打濕、搓線、打板、編織、縫合、熨燙等數(shù)十道手工工序后制作成衣。伴隨國家提出了“一帶一路”戰(zhàn)略，讓昨日的絲綢之路重現(xiàn)歷史的光明。作品巧妙采用標志絲綢之路的漢代服飾，使用今天的事（報紙信息）來說古人的事，以古喻今，古今結(jié)合，用今日的材質(zhì)表現(xiàn)昨日的形式。
曾鳳飛《新中裝》：2014年APEC會議領(lǐng)導(dǎo)人服裝，服裝采用新式宋錦面料，以中國傳統(tǒng)經(jīng)典款式立領(lǐng)對襟和盤扣工藝，融合海水江崖等傳統(tǒng)紋樣的創(chuàng)新設(shè)計，傳達21個經(jīng)濟體山水相依、守望相助的美好寓意。服裝在款式上，既嚴謹、莊重，又包容、大氣；在紋樣上，既寓意吉祥，又華而不炫、貴而不顯；在色彩上，既喜慶、熱烈，又純正、時尚。整體上氣勢恢宏，儀式感強，表達了中國人“有朋自遠方來不亦說乎”的好客之道。
勞倫斯?許《敦煌》：作品以絲綢云錦為面料，采用刺繡工藝，圍繞敦煌元素設(shè)計，以唐代的花紋色彩擴展形成，服裝色彩由淡藍色向金色漸變，胸前就像一朵絢爛的絲綢之花。作品融合了千年歷史和當代時尚元素，創(chuàng)意性的將云錦、山、水、城、林，中國傳統(tǒng)文化藝術(shù)相結(jié)合，演繹東方古典時尚。
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