谭晧焱是一名造型师,他曾经为Time Out Hong Kong担任时尚生活编辑,并经常为《Dazed》和《Confused》网上版杂志撰写文章,现职为Fashion Statement编辑。要欣赏他的其他作品,可浏览www.arthurity.com

中国设计师Uma Wang

如果文革从未发生过,那么中国人会穿什么衣服?他们可会穿着21世纪改良的量身定制、状似长袍的衣服,上面有色彩缤纷的图案、层层褡叠,造型宽松而飘逸,再配上合衬的串珠项链?这听起来像陈词滥调,但身为中国传统时尚的追随者,我发现了当前有一种扭曲的时尚现象,那就是整个时尚文化被千篇一律的T恤、牛仔裤和图案针织套衫所取代,完全受到西方文化支配。想到自己的个人特色,在某种意义上被抹灭了,让我有一种很揪心的感觉。至少,日本人和印度人仍然会将传统服饰融入日常生活,相反地,中国大部分地区已经完全见不到这种现象,而且长期以来寥寥可数,有如濒临灭种的北非白犀牛。我期待看到新旧并存。近年来,神州大地出现了两种类型的设计师:有些抱持改革变新、现代取向的时尚态度,其它则致力于振兴中华文化,摆脱西方的刻板模式。

不久之前,我和前卫的国际知名时装设计师马莎聊到她对于被标签为“中国设计师”有什么看法。她说:“我不介意。这是我的身份。不过我必须先搞清楚,您所说的中国是哪个时代的中国?古代还是1970年代之后?因为中国5,000年历史因为文化大革命而中断,现在我受到的影响来自现代中国和真正的中国文化本质,这是一种个人感受和哲学,而不是龙、凤和灯笼这一类表面化的图腾,那是西方人眼中的中国情调元素。”

我觉得,站在我这无知华裔美国人的立场,我充其量不过是个帝国主义崇拜者,醉心于那个满是丝绸床单和亮漆家具的中国历朝历代。我开始明白,自己并不完全理解和欣赏现代中国时装的方向。或许我对“更中国”的中国时装根本是痴人说梦、不合时宜,反而现代的中国时装设计师才是最货真价实的中国代表。

中国时尚界已经不再是制造业及零售业的“世界工厂”,现在这里培养出一些世上最具创意和前瞻思想的人才,如马莎。毕业自伦敦中央圣马丁艺术与设计学院的马莎,是该校第一位将毕业系列作品搬上伦敦时装周的设计师 (探索伦敦和其他时尚之都的城中必到之处)。这个让她打响知名度的系列时髦、简洁,完美糅合妩媚与阳刚气质,表现出现代的平衡感。中国已经摆脱了“创意沙漠”的名声,生产了一批具有全球竞争力的设计师,例如以实用而著称的王汁、风格前卫的针织设计师李筱和浪漫主义者张卉山。想到国际时装舞台上也有中国的代表人物,着实令我引以为傲,因为说到底,我的身份将永远与这些起起伏伏的中国软实力紧密交缠、脱离不了关系。马莎和其它设计师已经带动了一个更有包容性、更多样化的时尚版图,反映时下的全球品位,但这只是故事的其中一个层面。

中国品牌密扇
中国品牌一丿设计师任航

过去这十年来,我们看到另一个新运动正在萌芽,一群中国设计师从极度西方氛围笼罩之下苏醒,再度拥抱自己的传统,颠覆了西方长期以来受《龙之女》或《苏丝黄的世界》等电影影响而对中国产生带有歧视意味的错误看法。在高级时装水平,有“中国高定第一人”之称的郭培,以极尽奢华之能事的设计,将中国古典化为现代艺术。在近期的上海时装周和梅赛德斯-奔驰中国国际时装周上,一些独立品牌,如东北虎(Ne-Tiger)、密扇(Mukzin)、祁刚(Qi Gang)和陈安琪的Angel Chen等,均呈现了强烈的中国风。另一些刚崭露头角的非主流品牌,则有取自广东话“一撇”谐音的一丿(Yat Pit),他们以“恢复失去的中国文化”为口号,发展青年取向的服装系列。这些设计师正在收复传统失地,以让人耳目一新的方式呈现。

所以,不只有我认为将传统中国时尚元素,融入现代设计之中是一件值得重视的事。越来越多中国设计师以此当作灵感泉源,中国消费者也对这些设计爱不释手、欲罢不能。正如最近《时装商业评论》的文章指出:“一些原本不受欧洲奢侈品牌青睐的传统素材和产品,现在因为中国奢侈品消费者而回归市场。”甚至像爱马仕(Hermès)如此知名的国际品牌亦不落人后,加入中国这股新潮流,推出针对中国市场的副牌“上下”(Shang Xia)。

现在全世界再度以欣赏的眼光看待中国时尚,不同于马莎所说的中国情调,亦不受西方意识形态支配。这是令人兴奋的时尚探索之旅,为长期被西方世界垄断的时尚界提供另一类选择。

现在该是时候从集体错觉中清醒过来了,伦敦、巴黎和米兰这几个时尚之都的时装表演,绝非时尚潮流的起点和终点。中国设计师已经开始认清了自己的身份,并且为自己创造一个专属平台。而这个新的焦点更为他们提供了一个难得的大好机会,现在,中国设计师终于可以帮助创造出一個真正有代表性的时尚产业。

中国设计师吉承

What would Chinese people be wearing if the Cultural Revolution had never happened? Would they be wearing 21st-century updates of well-tailored, robe-like clothes that are colourfully patterned, loose and flowing, layered and appropriately accessorised with beaded necklaces? It sounds like a cliché, but as a fashion follower of Chinese heritage, I find it a travesty that an entire fashion culture evaporated to be replaced with standard T-shirts, jeans and logo jumpers – a completely Western-dominated idea of fashion. It leaves me with a gut-wrenching feeling that my own identity has been erased in some way. At least in Japan and India people still incorporate traditional clothing into everyday life, whereas in China it has for the most part completely vanished, and for the longest time, has been clinging on to existence like an endangered northern white rhino. I want to see the old and the new coexisting – and in recent years, two types of Chinese designers have been appearing: some who have a progressive, modern stance on fashion and others who are reviving Chinese culture in a way that’s free of Western stereotypes.

中国设计师Uma Wang

A while ago I was chatting with edgy, internationally acclaimed designer Masha Ma about how she felt being labelled as a ‘Chinese designer’. She said: ‘I don’t mind. It’s who I am. But to clarify, what are you referring to? Ancient China or modern China after the 70s? Because 5,000 years of Chinese history was stopped by the Cultural Revolution and now I’m influenced by modern China and the true essence of Chinese culture, which is about personal feelings and philosophy rather than appearances and symbols like phoenixes, dragons and lanterns, which are frankly an exotic Western point of view of what China is about.’

I felt put in my place – an ignorant Chinese American who was no better than an imperialistic fetishist craving for the days of silk sheets and lacquered Chinese furniture. It dawned on me that I didn’t fully understand and appreciate the modern direction of China’s fashion. Perhaps my fantasy of a more ‘Chinese’ China was misplaced, and modern Chinese designs are just as authentic as they ever were.

中国品牌密扇

The Chinese fashion scene has become much more than just a production and retail mecca; it is also producing some of the world’s most creative and forward-thinking talent, like Ma, who upon graduating from Central Saint Martins in London became the first designer from the college to have a graduate collection shown at London Fashion Week. The collection was sleek, geometric and had that perfect modern balance of femininity and masculinity. China has shed its reputation as a creative desert, producing a group of designers that compete globally, like utilitarian Uma Wang, avant-garde knit expert Xiao Li and romantic Zhang Huishan. It makes me proud there is Chinese representation on an international level because ultimately, the perception of my identity will always be intertwined with the ups and downs of China’s soft power. Ma and others have pushed for a more inclusive, diverse fashion scene that reflects global tastes – but that’s only one layer to the story.

中国品牌一丿设计师任航

In the past decade we’ve seen another new movement, of Chinese designers reclaiming their heritage from a Western narrative that was built on incredibly racist films like Daughters of a Dragon or The World of Suzie Wong. At the couture level Guo Pei dominates with her extravagant gowns that are modern, artistic transformations of Chinese classics. On the catwalks of the recent Shanghai Fashion Week and Mercedes-Benz China Fashion Week there were strong Chinese references from independent labels like Ne-Tiger, Mukzin, Qi Gang, Zeng Feifei and Angel Chen. And on a budding, fringe level we have Yat Pit, which means ‘one stroke’ in Cantonese, developing a youth-oriented clothing line with the tagline ‘reviving lost Chinese culture’. These designers are taking back their heritage and presenting it in a fresh way.

So it’s not only me who thinks there is value in incorporating aspects of traditional Chinese fashion into modern designs. More and more Chinese designers use it as a source of inspiration, while Chinese consumers are demanding it. As a recent The Business of Fashion article stated: ‘Traditional materials and products are being reinvented for Chinese luxury consumers less enamoured by European luxury brands.’ Even global brands like Hermès are jumping onto to this shifting taste in China with the development of their Chinese specific sub-brand Shang Xia.

中国设计师吉承

There is a reappropriation happening in Chinese fashion, different from the exoticism that Ma describes, and not dictated by Western ideologies. It’s an exciting prospect for the world of fashion, offering alternatives to the monopoly the West has held in fashion for far too long.

It’s time to wake up from our collective delusion that fashion begins and ends with the catwalks in London, Paris and Milan. Chinese designers have begun to reclaim their identity and create a platform uniquely their own. This new focus offers the chance to create a truly representative fashion industry.

Gold Underline small (600)

想知道更多谭晧焱对时尚内幕的看法,请浏览他的其它男装风格探路者系列文章

SHOP!购物大道
为您精选的新款时装、华丽饰物及美容产品,现在于新濠影汇购物大道有售。还有多款独家及限量版單品可供立即预留!