Qiao Chunyang: Designer Is The Key To The Fashion Of National Costume (Three)

National costumes and fashion elements are two concepts that cannot be separated. Then how do fashion elements in national costumes come into being? This requires our designers to solve them.

Designers must have a high cultural quality, and be able to understand the connotation of national culture, so that they can better inherit and make good use of national culture.

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Background to the deep national features, from the brain to the various accessories, these are worthy of in-depth study by designers.

The famous designer Givenchy launched a series of costumes today, showing a sharp cut style, with unique Scotland grid style theme.

Lenny Caio style design works are gorgeous and bright, showing a strong Irish national style.

Her designs flickered with old sheen: handwoven shirts and artistic cloths reflect the traditional style of folk questions.

Wearing such a dress makes people feel like a warm stove, warm, friendly and natural.

Yves Saint Laurent, a leader in the Dior era, has a passionate Spanish style in his works, a gorgeous Russian style, a bold and unrestrained African style, and a classical full-length style.

It should be said that San Laurent gave the "classic" fashion to the significance of the times. He was an old fashioned style reformer.

The term "Bohemian style" has become a powerful shock in the modern fashion stage.

The main features of clothing are the combination of bright handmade decoration and rough and heavy fabrics, metal textured plastic locks, armoured fabrics, silk and linen fabrics, glittering metallic gauze and so on. They retain the style of "nomadic people" and enable people who live in the city to enjoy the free breath of the endless grassland. The design works of the famous designer Emmanuel Ngaro (emanwel ungaro) have used the cashmere knitted fabric and Mao Haimao mesh fabric to give the Bohemian national style considerable.

The taste not only deducts the ornamentation of lotus leaf, but also brings some wild nature to it.

When foreign designers absorb Chinese elements, they often do some local articles on the basis of modern fashion contour, so as to seek innovations and breakthroughs, so as to realize the perfect combination of modern design and traditional national elements.

The most commonly used design method is to use Chinese craft materials and patterns to color or decorate or break basic fixed styles.

In the application of process materials, brocade and embroidery with Chinese characteristics are the most widely used.

John Guarino, the designer of the world's top fashion brand Dior (Dior), used the brocade technique to make models wear yellow clothing embroidered with dragon patterns, showing a magnificent atmosphere.

Embroidery or hollowing out or adopting a strong Chinese way with a strong sense of stereopsis, the flowers are lifelike.

Embroidery is an ancient Chinese craft. Zhou Dai is still simple and rough. The Warring States period is becoming more and more progressive; the Han Dynasty began to reveal the beauty of art.

The Song Dynasty was the peak period of embroidery development in China, especially in the creation of pure aesthetic embroidery.

It combines the essence of painting and calligraphy, and reveals the characteristics of Chinese culture with colorful and bright silk threads and skillful techniques.

French top designer Eve Szentloran also used jacquard, brocade, embroidery and other techniques to create extremely luxurious and brilliant Chinese customs in the autumn and winter clothing conference in 2004/2005.

In terms of pattern color, the West

It is not only a simple copy of the dragon and flower regiment patterns in the past, but a further excavation of a more humanistic Chinese painting, such as Chinese ink and wash painting. The designers of Dior painted black flowers on the white fabric with ink splashing, and decorated with red flowers, while the styles of clothes were simple and ordinary, but the appearance of splashed ink made the dress look elegant.

Enzo, known for his national style, has continued to re interpret the elements of Chinese ethnic dress, piercing the national totem on the black velvet fabric, and interlacing the patterns and colors of flowers, dots, metal borders, and so on. It has also struck the most beautiful sparks on the costumes, matching western style Plush red scarves, showing a warm ethnic customs, giving China the most fashionable elements of national style on the world fashion stage, giving splendor to the Enzo.

In 2005, Chanel designer Carle laguphe made the heroine of the movie "Paris love for change" dressed in a wedding dress with 2000 white camellia flowers showing the extreme luxury of the brand.

In 2003, Kenzo launched a spring summer women's dress inspired by Chinese national flower peony, creating a gorgeous but not fashionable taste.

Hu Zemin, a professor of textiles and clothing department of Fu Jen University, Taiwan, has written a research report on the influence of the blending of eastern and western flower ornamentation on modern fashion brands.

Bright red and violet make women more beautiful with their bright colors. These colors are obviously essential elements to highlight the beauty of Chinese women.

And some of the lively color mix has unlimited visual impact, red and green, lake blue and bright yellow. Those vivid confrontations make us recreate fresh Chinese flavor when challenging the limits of our eyes.

Many designers began to break the fixed pattern of Chinese traditional clothes intentionally or unintentionally. Throughout the process of creation, they always run the concept of modern life through them, mainly through the use of post-modern deconstruction method, which regards the typical patterns, lines and colors of the Chinese nation as a symbol and vocabulary, and combines traditional components into their own designs through non-traditional means, thus forming a new type of beauty that integrates ancient and modern, and combines Chinese and Western cultures.

Many styles of Japanese dress brand Lssey Miyake are inspired by the Miao nationality's pleated skirt.

While many Chinese are infatuated with the world's top fashion brands, Chinese traditional dress elements are favored by more and more fashion designers. The Chinese minority dress culture is showing new vitality in the global fashion industry.

The traditional ethnic costumes are embellished with fashionable elements in the designer's hands, and the collision between tradition and modernity is a great admiration for the audience.

Antique or improved Tang costume and cheongsam have long enjoyed a high reputation in the world, becoming the leading role of high fashion custom making and the special products of foreign tourists.

Zhang Ziyi has also become the focus of media attention at an International Film Festival with a belly dresses.

Ms. Wang Hua, a fashion designer, is fascinated by the traditional costumes of Miao, Buyi, Yao and Shui minority groups.

She hoped that she could design some new styles, not only to preserve the traditional characteristics of the minority nationalities, but also to be fashionable and internationalized.

Wang Hua said, "the clothing of Chinese ethnic minorities is very distinctive and very beautiful. Even in a global perspective, it is not inferior."

Wang Hua frequently travels between Guizhou and Beijing, adding fashion elements to Guizhou national costume. She is determined to do so.

Wang Hua's design idea is to decorate the neckline with the traditional pattern of "Bai Ku Yao". The median design of the chest is the cloud pattern of the Buyi Nationality. On the both sides of the cloud water pattern is the Miao nationality auspicious totem repair, and the cuffs are designed with the auspicious character of the water book.

The most distinctive feature is the symbol of the national fusion in the middle of the back. It is based on the Yao king as the frame. It combines the classic patterns of the 4 peoples of the county of Buyi, water, Miao and Yao in the county, symbolizing the great unity of the people of all ethnic groups in Libo.

This design has been highly recognized by local government departments.

Lin Xuefei has been committed to the research of Guizhou's ethnic costume culture, and is good at using the traditional ethnic crafts such as Guizhou batik and hand embroidery into the fashion design. His works contain rich landscapes and freehand brushwork and modern fashion. As the only Chinese designer who participated in the Swedish International Wedding Dress conference, she has set up a branch in Europe.

Ruan Jingzheng, a famous designer in Taiwan, thinks that the long fusion of national elements and modern fashion is like modulating the cocktail of mellow taste. We need to pay more attention to material, proportion and aesthetics, and emphasize the combination with modern life style.

He used all the elements of Chinese national elements which are full of love and are all bought in Europe. Therefore, Chinese national fashion has long been unique in the field of international clothing.

Deng Xiuwei, President of the Singapore Fashion Designers Association, often adopts traditional Chinese flower patterns and hollowing weaving methods.

"The casual dress and evening dress that I have designed are very popular in Singapore," she said.

　　设计师在古典的景颇银袍盛装上做了大胆的尝试，将当下的流行元素融入银袍的修饰中，头饰利用了景颇族乐器的变形，整套服装以景颇族传统的黑和红作为主色调，时尚而不失“景颇味”;傣族服饰一直以其优美的线条凸显女性的魅力，设计师选用了上好的材质，巧妙地在服饰纹路上做了修饰，使其华丽而不失大方;傈僳族的服饰色彩艳丽，传统服饰主导实用性，设计师在原有基础上做了剪裁，收腰放大裤腿，使服饰的色彩和线条在佳丽身上完美展示;阿昌族传统服饰的头饰大而精美，设计师对其进行了构思，将头饰的华贵与服饰的色彩做了匹配，使它们有机地融为一体;设计师在德昂族传统服饰中又加入了靓丽的流行元素，但对于传统手工更加讲究，手绣图案式样丰富而前卫。

The costumes of Oriental peoples such as curling, fringes, knots and flower embroidery, such as Japan, India, Thailand and Singapore, have been widely used by designers. They also add fluidity and interest to make their designs more exquisite and luxurious.

Especially in the advanced garments, the exquisite Oriental handicraft art decorations echo the simple modern atmosphere of fashion, and are more innovative and full of lingering charm.

In recent years, designers in Pakistan, Singapore and other places have begun to emerge.

For example, Mohamed Emil, a designer in Pakistan, has retained the custom of sewing a piece of stitch on the headwear in Islamic women's traditional costume design, and has made bold innovations in other aspects, forming a sleeveless, skirt style with a short front to the knees, the back and the ground. There are many holes in the fabric, and even reveal the hips in moham-medamlr.

His works are combined with the East and West, revealing both the national tradition and the design breakthrough.