楚元素闪耀巴黎时装周
Amazing China Colorful Jingchu：Chu Inspired Fashion Meets Paris Fashion Week
楚天都市报极目新闻记者 徐颖
通讯员 尹佳丽
Jimu News Reporter: Xu Ying
Correspondent: Yin Jiali
翻译：易泉 杨永佳 樊坤铭（湖北大学）
Translators：Yiquan, Yang Yongjia, Fan Kunming (Hubei University)
当浪漫的楚文化碰上现代服装设计，会擦出什么火花呢？11月9日，长江讲坛邀请到武汉纺织大学郭丰秋教授为读者解读楚文化与现代服装设计的交融与碰撞。
What happens when the romantic Chu culture meets modern fashion design? On November 9th, Professor Guo Fengqiu from Wuhan Textile University was invited by the Yangtze River Forum to interpret the connotations behind the aesthetic fusion between Chu culture and modern fashion design.
中国服装设计的文化自觉历程
The Journey towards Cultural Self-awareness for Chinese Fashion Design
郭丰秋将中国服装设计的文化自觉历程分为三个阶段。第一阶段，文化觉醒阶段——“表现中国”。20世纪90年代，美国纽约刮起一股看中国的风潮，让中国华裔设计师谭燕玉极具中国文化风情的服装作品进入西方国际视野。第二阶段，文化反省阶段——“再现中国”。 2007年巴黎时装周上，马可展示的“无用之土地”系 列展现了中国传统文化的内在精神，代表了中国服装设计进入文化反省阶段。“无用”是让我们反省：在工业化浪潮冲击下，看似无用的传统手工艺如何被保护和传承？流水线生产的服装是否具有真正的人文价值与情感温度？第三阶段，文化超越阶段——世界中的 “中国”。北京服装学院副教授楚艳的作品“楚和听香 ”系列，灵感来自于东西方文化交往交流与交融的汇聚地——敦煌莫高窟，在她的作品中， 可以看到设计师在坚守本土文化立场的同时，撷取不同国家或民族的纹样元素，款式中西结合，纹样多元并蓄，很好地诠释了世界主义视野中恬淡、典雅、平和的中国美学风格。
Professor Guo Fengqiu divides the quest for cultural self-awareness in Chinese fashion design into three stages. The first stage was the cultural awakening stage, categorized by “Representing China”. By the 1990s New York saw a sudden interest in China, giving Chinese-American designer Tan Yanyu's clothing works imbued with Chinese culture visibility in the Western world. The second stage involved cultural introspection, which Professor Guo referred to as “Representing China Again”. During the Paris Fashion Week in 2007, Ma Ke's “Useless Land” series, a tribute to the spirit of traditional Chinese culture, ushered in this stage of cultural introspection. “Useless” beckoned all to reflect on how to protect and carry forward seemingly useless traditional handicrafts amidst the wave of industrialization, to consider whether mass produced fast fashion still holds cultural value, lacking the emotional bond shared between the maker and the user. The third stage is Cultural Transcendence, or viewing China from a global perspective. Drawing inspiration from Mogao Caves in Dunhuang, an iconic cultural crossroads between eastern and western cultures, Chu Yan, an associate professor from Beijing Institute of Fashion Technology, created the CHUYAN collection. Chu’s designs, which draw on elements and patterns from various countries and ethnic groups also pays homage to Chinese culture. The styles which meet eastern and western tastes, offer an inclusive range of designs, presenting the iconic minimalistic and graceful Chinese aesthetics in a new light.
楚文化在现代服装设计中的传承
Chu Culture meets Modern Fashion Design
楚国是老庄思想的发祥地。郭丰秋教授介绍，老庄思想——见素抱朴、上善若水、道法自然在现代服装设计中具有很强启示意义。老庄文化元素中的 “见素抱朴”在马可2008年巴黎高定时装周的“奢侈的清贫”系列中得到了很好体现，它不仅采用全手工制品，也采用了中国传统的十字形剪裁和交领右衽款式；“上善若水”体现在2020年盖娅传说的若水系列，中国古代的传统山水画中水墨山水、水墨 晕染以及留白意境的塑造，在这个服装系列中是可以看到的……现代服装设计者借鉴楚文化并将其推陈出新地应用在现代服装.上，让现代人与古人在服装上产生共鸣，开启跨越两千多年的对话。
The Chu state is considered the birthplace of Laozi and Zhuangzi's philosophical thoughts. Professor Guo Fengqiu explains that Laozi and Zhuangzi’s teachings—such as “maintain originality and embrace simplicity”, the concept of “the highest good is like water,” and the principle of “Dao operates naturally”—provide profound inspiration for modern fashion design. The principle of “maintaining originality and embrace simplicity” from Laozi and Zhuangzi was well demonstrated in Ma Ke's “Luxurious Qing Pin” collection during the Paris Haute Couture Week in 2008. This collection not only featured entirely handmade garments but also incorporated traditional Chinese craftsmanship, including the cross-shaped cuts and right lapel cross-over collar style. The idea of “the highest good is like water” was reflected in the “Ruoshui” series by HEAVEN GAIA, where the flowing aesthetics of Chinese traditional landscape ink paintings—such as ink wash landscapes, blurred ink effects, and leaving blanks —were skillfully applied to the designs. Modern designers have drawn inspiration from Chu culture, integrating and reinterpreting it to create contemporary clothing that resonates with both modern and ancient sensibilities, bridging a connection that spans over two thousand years.
郭丰秋教授说，随着现代人对楚文化的理解，越来越多的新面料、新技术被用来表现楚文化，例如，年轻的服装品牌密扇，就采用镭射面料、3D打印技术，将《山海经》文化元素以时尚、活泼、有趣的方式展现出来，中国的服装设计也越来越被世界所关注。
Professor Guo also highlights that as modern understanding of Chu culture deepens, new materials and technologies are increasingly being utilized to express this cultural heritage. For example, the young fashion brand MUKZIN incorporates laser fabrics and 3D printing technology to present elements from The Classic of Mountains and Seas in a fresh, lively, and interesting way. As a result, Chinese fashion design is gaining increasing attention from the global fashion scene.