先把布打出来看看。

观念，处理手法，忠诚结合得最好的设计师之一啊。。。一下午看了他95－07的全部show的vedio。 他比dior homme更忠实地再现了灵感的源头，少了公子般的奢华，彻头彻尾的草根街童反叛。 记得有本书说raf的街童造型比hippop造型更鲜明强烈，是最具社会批判的形象。 有人说n(n)是日本的raf,型是有几分相识，也可能有相同的信仰，但神就大相径庭了，n(n)就象在隔岸观火。。做自己想像的东西， raf就是被火烧着了，有切肤之痛。有人有说茶缸是中国的cdg,我认为在创作上它更接近raf simons，一直以再创作在忠实地再现了灵感的源头。

还没给这头发照过相

又看了一次血钻石。。。Jennifer Connelly。。。。。知性的女人。。。太有吸引力了。。。。。 想起了jil sander........

都几无聊，，，原来想都翻译了。。。。哎。。。。。就译的个简介。
hussein chalayan于1970年生于塞浦路斯的尼科西亚。他是一个因对材料的创新，缜密的样式剪裁和对新科技的进步观念而得到国际认可的时装设计师。他在塞浦路斯和英国的london's strict highgate boarding schoo受到教育，1993年毕业于伦敦的central st martins college 的艺术和设计系。他的毕业作品是把解构的丝绸上衣埋在地下然后再挖掘出来。他发表的超过20个系列作品和两次加冕british designer of the year (1999, 2000).chalayan都是从建筑藜理论，科学和物理技术中得到启发。他著名的作品是把包括椅子和桌子的家具变成服装。他参加了众多的国际性展览，包括 radical fashion’ at the V&A victoria & albert museum in london (1997), ‘fashion’ at the kyoto costume institute in japan (1999), ‘airmail clothing’ at the musée de la mode palais du louvre in paris (1999), the istanbul biennial (2001) and 'godess: the classical mode' at the museum of modern art in new york (2003). chalayan也同时为歌剧和舞蹈演出设计衣服。 hussein chalayan代表土尔其参加了51届venice 双年展。在2006queen's birthday 的荣誉名单中得到了M.B.E. (member of the british empire)以表彰他对时装产业的贡献。
what is the best moment of the day?
I guess it's the early morning and late afternoon.

what kind of music do you listen to at the moment?
I listen to all sorts of music: minimalist, folk, classical turkish,
classical european, rock and punk.
it's never one thing.
anything that has a passion, that captures my emotions.

do you listen to the radio?
I like radio 4 which is old school BBC english.

what books do you have on your bedside table?
I've just finished a book by jean baudrillard and now I'm starting
a book by alain de botton. I like cultural theory.

do you read design / architecture magazines/fashion design?
not really, I flick through now and again.
I don't look at anything religiously.
I like to be inspired by other sources, by seeing other visual things,
by things that don't necessarily relate to my world so much.

where do you get news from? do you read newspapers?
I watch the news on tv, sometimes I read newspapers or radio.
I move around so much, it really depends on where I am.

guess you notice how women are dressing?
do you have any preferences?
I like a woman to dress for an occasion, she could be completely
dressed like a boy during the day and at night she could become
a fashion bitch. I like juxtaposition.
the most stylish woman for me, dress for an occasion rather than
looking lady like all the time.

what kind of clothes do you avoid wearing?
myself?
I don't like clothes that are too designed for men.
I like men to look quite classic. I mean, ideally my wardrobe would
be saville row just in nicer colours,or with alternative colours, lets say.
I guess I like definitely, men to be not so fashion-y.

do you have any pets?
no, but I'd love to have.
I love cats and dogs but you have to have space for them.
I live in a flat in London so I can't.
it would be completely torture for them.

when you were a child, did you want to be a fashion designer?
no. I first wanted to be a pilot and then I wanted to be a hairdresser, no sorry, first a hairdresser, then a pilot, then an actor, then an architect and then a fashion designer. yeah.
where do you work on your designs and projects?
most often in my studio, but also at home, or on the plane.
again I move around a lot for my work right now which I'm not
liking but I have to.

do you discuss your work with other fashion designers?
yes, but not really in depth.
there's a few people I feel comfortable with but it's quite rare to
find that person. I think everyone is a bit cagey about what they do.
I like talking to architects because we speak a similar language.
I have random people I speak to.
I have a friend who is a writer, a friend in the restaurant business
and another friend who's a curator.

describe your style, like a good friend of yours would describe it.
I like to design simple things but that are not basic.
I'd say I'm natural, quite opinionated and that I don't like to stand
out too much.

please describe an evolution in your work,
from your first projects to the present day.
my work has become more and more cross disciplinary.
the evolution is using other disciplines to express my ideas.
I've had the confidence that I've been able to, kind of
express a world through other mediums. for example
I've been making films in the last 3 to 4 years so that's added
a new dimension to my work.

what project has given you the most satisfaction?
I don't think I have a project that's given me the most satisfaction.
I've worked on various projects and each one is a different
experience. our show in 2000 with the living room that
converted was a very powerful experience.
my project for venice biennale last year was a strong
experience. the one before that called place to passage,
which we toured with, was a film.
my collections are always challenging and I get a lot out of them.
all the projects have a different impact on me.
I make a real effort to push myself as far as possible with
each one.

who would you like to design something for?
I would love it if kate bush (the musician) came to me because
her world has been so inspiring to me.
(I mean she's such a sort of... she isolates herself from
situations... I don't think that would happen... but someone like
that would be amazing to design for... because of her work.)

is there any designer and/or architect from the past,
you appreciate a lot?
I like parts of what balenciaga does and parts of
comme de garcons house.
I like their approach but it doesn't mean I love every collection.
I think the masters of the 60s were amazing like the
old balenciaga, the old pierre cardin, the old courrèges.
in this era anything goes. they were real masters and
in a way, we're just ... everybody is just doing kind of ...
regurgitating what they've done.
it's about juxtaposing everything that you wouldn't have seen
together in the past.
I like quite a few architects: renzo piano, jean nouvel,
parts of zaha hadid, rem koolhaas and mies van der rohe,
alvar aalto and le corbusier.
quite broad, but again, parts of what they do.

what advice would you give to the young ?
I would advise young designers to get experience before
they approach their own thing.
you don't have to have your own label to succeed.
you could have a part in an interesting group.
the important thing in the design world is to be always thinking
of something that isn't already done.
otherwise, the ones that are doing it will do it better than you.
also, opening to yourself to sort of other things that can inspire
design rather than looking at design constantly.
you have to expose yourself to other worlds to keep your
mind more active.
what are you afraid of regarding the future? oh, politics. I think it's destroying everything. misunderstandings... like cyclical misunderstandings... that one thing is leading to another, that's what I am really sacred of. I think definitely abuse of power is the scariest thing and ignorance and demonizing what you don't know.

想到头痛。。。。只是六件衣服，想整体成型一点也有相当难度。下楼买了两罐啤酒。。。吹风。然后看了mindmasters的这篇文章，激情又上来了。叶莹在她的blog的几篇关于国内服装设计的文章中都持有怀疑的观点，不断地反问。她的看法相当在当前的状况下令我很有同感。相当单一的设计崇拜感，在工业和艺术间的被动状态，导致了整体面貌的营养不良。在文章中不断地出现cdg,y's,mmm,难得的还有个uc......这些都是在当下国内释放着他们的影响icon，解构主义并不是唯一的有个性和cool的设计资源。衣服的确很象建筑，但完全把它看成软的建筑，那是相当狭隘的，也很是当下国内营养不良的写照。衣服可以玩print,象bernhard willhelm和matthew williamson,可以玩剪裁,不单只是cdg，还有raf simons，可以玩面料，象anna sui,可以玩pacth,象西太后和宇津木，可以玩newschool，象在国内忽略的kim jome。但国内营养不良的写照就是单一地拜感软的建筑，就是mmm,cdg，最牛就是chalayan,一提起他就会觉得相当有个性.我也不幸地中招了。
中国设计,仅有概念是不够的
By [ 叶滢 ]
月10日的夜晚,在大山子的706车间,已经预谋多时的"中国设计"王一扬、张达、吉吉和高欣四人的时装展定在这里举行。 什么是中国设计，显然，媒体和策展人对于新一代的中国设计师寄予了很大期望，这一代应该不同于中国以往的设计师，他们应该有自己的设计语言和更清晰的思路，而且，有自己的读者群。 在和他们的交谈中，你很容易听到侯赛因·查拉扬或者马丁·马吉拉这些设计师的名字，由于资讯传播的便捷，这些在欧洲的小众设计师已经成为新的icon，成为设计师们口耳相传的名字，做一个像夏奈儿或者圣洛朗这样声名赫然的名牌，很多时候，并不是年轻一代设计师们的理想，拥有自己的工作室，控制产量，建立自己的小型专卖店，为朋友们设计服装，像山本耀司或者川久保玲那样，让服装成为更接近艺术的设计语言，似乎对年轻一代更具吸引力。 这次的“中国设计展”找来的合作者是，上海的德默营造建筑事务所进行空间设计，做实验音乐的颜峻制作音乐，北京现代舞团做编舞，一心要推中国设计的洪晃作为出品人，大声展的策展人之一吉吉这次还次除了做策划之外，他的服装设计也是当晚的一个环节。 ７０６工厂的宽阔空间被巨大的防护网铺满，走在上面，要小心自己的高跟鞋，大量公地里用的塑料薄膜将空间做了简单的分隔，现代舞团的年轻演员取代了时装表演中的模特，他们的舞蹈也是当晚的主角之一。 张达的服装首先出场，他用了我们小时候所穿的红、蓝羽绒服的面料，演员们在舞蹈时，身上的彩色塑料配饰哗哗做响。张达一直说这个系列做的时间很短，觉得不够理想，当然，展出依然要进行，几百双眼睛不会了解设计师准备时间有多少。高欣的军装系列，可穿性比较强，尤其是外套和夹克，但整体而言，设计手法并非特别新鲜。吉吉是第一次做时装设计的展示，衣服更像是用在某场戏剧演出中，演员的舞蹈也非常夸张，经常用翻滚的动作表现宽大的裙子。王一扬的衣服被现代舞团赋予了新的演绎，两个青年男女在《南屏晚钟》的歌声中，绕着一辆自行车谈起了恋爱，现场有人鼓掌也有人轻笑，“这么具象”，我听见有人说。整场时装秀更像是一场现代舞表演。你很难说，眼前的服装有足够多让你惊喜的系列，但每个人的作品中，还是能找到部分有趣的设计，尤其是王一扬的茶缸系列，设计思路更为清晰，想法实现的程度也最高，他的美学体系是一直持续的，当然，我对于在那些大棉袍外面的塑胶圆点有保留意见，即使是独立设计，这样似乎也走得太远了，如果是要设计舞台服装，倒可以另当别论。 中国的设计到底能到走到什么程度？其实这个市场留给设计师的空间还是非常小，海外做工精良的大品牌和价格低廉面目模糊的本土大众品牌的竞争已经足够激烈，即使是城市中热衷表现个人身份的消费者，在Ｙ－３或者Comme des Garçons这些更酷的品牌或者设计师面前，已经越来越清楚自己的选择。作为一名生长在中国的，有个人理想的设计师，你的设计想法是否清晰？你是否建立了自己的设计美学？你的工艺是否精湛？你的材料是否能足够表达你的想法？你的市场推广是否为你找到了即使为数不多但足够准确的读者群？ 最重要的是，你是否有足够的热情尊重自己的创作？与纯粹的艺术作品不同，你是否还有足够的耐心去与不同的领域进行沟通，让你的服装被应该接受的人看到或者了解。 我们接触到了过度丰富的时装和时尚资讯，不同范畴的icon正在全球释放着他们的影响，在中国也不例外，当我走在上海新乐路或者长乐路上，看到在这一两年中，不少年轻人开始建立自产自销的服装店，但很多时候，我看到的是川久保玲作品的简化版，那些黑色、白色或者军绿色的服装，有过多的为设计而设计的技巧表演，而在时装的细节上却显得简单、粗略，时装的式样并不难效仿，但Comme des Garçons那种严肃和幽默感同时具备的气质，却是正在起步的中国年轻设计师难以模仿的。很多时候，你对待一件事情的态度，会通过事情的结果完全呈现出来，如果你是随意粗放的，那么你的设计显然也不可能充满让人回味的细节和整体感。 成本对于年轻设计师来说，依然是很大的问题，因为投入的限制，服装的实现程度肯定要受到影响，但是，这也并不仅仅是中国设计师面临的问题，在伦敦或者马德里，年轻的设计师被大品牌压迫得更为厉害，即使是一个仅有３０００镑完成的时装秀，像Ｅmma Cook这样的独立设计师一样也会调用全部的热情去完成。在中国，设计正在成为过于热门的话题，海外的关注也甚于以往，为了２００８年在伦敦即将进行的ＣＨＩＮＡ　ＤＥＤＩＧＮ　ＮＯＷ的设计展，Ｖ＆Ａ博物馆的策展人频繁往来与伦敦和中国之间，刚刚在荷兰进行的中国当代艺术展也加入了时装设计的部分。而事实是，中国的年轻设计师最主要面临的问题不是参与各种各样的艺术展览，他们如何在这个市场中生存下来，如何让更多的人了解自己的作品？毕竟，设计是与现实发生更密切的关系． 中国当代艺术、中国电影都曾经走过从西方热返销国内的发展路径。“中国元素”或者西方对中国的“东方想象”，在当下的设计领域中，显然已经成为了有点想法的设计师都在回避的cliche,打个比方，十年之前，Vivian Tam可以在纽约玩中国波普、毛泽东头像和麻将，当时她的发现和中国当代艺术彼时的新潮是遥相呼应，但现在，谁还敢玩这一套符号？ 那么，一个三十岁左右的年轻中国设计师，可以调动的设计资源有哪些呢？现在看来，只有王一扬所唤起的关于７０年代的蓝色、灰色的棉布记忆能自成美学系统，更多的，希望自己成为有个性的独立设计师的年轻人，在太多的选择和太丰富的资料面前，如何发现自我并且持之以恒呢？ 中国用了２０多年的时间来发展当代艺术，才出现今日足够多元、蓬勃的作品面貌，而刚刚苏醒的中国设计，需要多长的时间才能呈现同样多元而蓬勃的状态？