文字+实物 Please Note That the Former Arts University College at Bournemouth (AUCB) Became the Arts University Bournemouth (AUB) on 13Th December 2012

文字+实物 Please note that the former Arts University College at Bournemouth (AUCB) became the Arts University Bournemouth (AUB) on 13th December 2012. All references in this document to AUCB, the University College or the Arts University College should be taken to refer to AUB, the University or the Arts University. Fashion Revolution China 时尚变革在中国

Anthony Bednall 安东尼班德纳

文字+实物

Introduction 梗概

这次展览的最初灵感与最终成形与我个人在中国 The inspiration, archiving and realisation of this exhibition 的十年之旅密不可分。它开始于2002年， runs parallel to, and is informed by, a ten year personal 我得到了一个特殊的机会，来到了北京，就职于 journey. This began, in 2002, when I was privileged to 一所国际设计学院。 have the opportunity to live in Beijing and work for an International Design Institute. 这是我所观察到的中国和我的亲身感受。通过婚 It draws together my own individual perceptions of 姻，我接触了解到一个中国家庭。在我这个外国 China as well as my acceptance, as a foreigner, through 人的眼中，这个家庭有着独特而耐人寻味的历 marriage, into a Chinese family. The history of that family 史。展览中有很多来自于这个家庭的服装，图片 is in itself unique, in that there is documentary and 等实物资料。借此，我们可对同时期的中国社会 photographic evidence that contextualises dramatic 变化窥见一斑。 historical events, as well as personal references to many of the exhibits on display. 余家全家福，摄于1930年代。在这张家族三代人的合影中，既可以看到雍容华贵的中国服饰，也 The Yu family photograph taken in 1930 shows three 可以发现同时期的西方时尚元素已开始在传统风 generations and illustrates not only traditional dress 格上产生影响。 defined within an aristocratic and eminent context but the embraced influences of Western style that became 余静媛（后排左4，我妻子的祖母），余静 influential amongst wealthy Chinese families of the time. 岩（后排左5，静媛之妹）——本次展出的中式旗 Pictured on the back row, fourth from the left is Yu Jing 袍曾经的主人。这几件有着近百年历史的旗袍给 Yuan (my wife’s grandmother) and fifth from the left her 了我做本次展览的最初灵感。 sister Yu Jing Yan. Extraordinarily, garments from both these women have survived to the present day and 初到北京，我即刻感到，21世纪中国城市人的真 formed the initial catalyst for the archive. 实生活方式与西方媒体所描述的大相径庭。脑海 When first arriving in Beijing there was a clear paradox 中期盼的充斥着军装与革命制服的海洋根本无迹 between the generalist external view of China as seen through the eyes of Western media, documentary photographers and filmmakers with the reality of 21st Century urban Chinese living. With the expected militaristic and historical visual references not being

4 可寻。在中国加速发展经济，走向现代化的驱动 particularly evident. It was clear that much of the 下，那些并不久远的个人历史和时代记忆已被遗 personal history and memories of change had been 忘，抛弃。 disregarded in favour of an economic and contemporary drive for the ‘new’ that had little time for the ‘previous’. 作为一名时装设计师和时装设计教育工作者，我 As a fashion designer and educator there are key 认为，服装服饰是一种非语言的沟通表达方式； principles and drivers that inform my own practice 客观反映出着装者的社会阶层，经济地位，政治 and my philosophical viewpoint on fashion and clothing. 立场。在中国的所见所闻及策办本次展览的过 Ostensibly, how people dress explores individual identity, 程，让我对时尚的这种本质有了更深刻的认识。 as a non-verbal language, in response to social, economic and political contexts. All of which were both reinforced 展览跨越了中国20世纪三个独特的历史时期。陈 and illustrated during my time in China and the 列的服装，图片等实物资料展现了中国时尚在不 subsequent curating of this exhibition. 同时代背景下的变迁与发展。 The exhibition has three sections all containing garments, 1911年的辛亥革命推翻了满清统治，结束了中国 images and objects that explore the changes in Chinese 历史上最后一个封建王朝。社会的变革引发了时 clothing across the 20th Century. 装的革命。人们摒弃了传统苛刻的礼教与风化， After the demise of the Qing dynasty due to the 1911 解除了服制上等级森严的种种桎梏，思想得到解 Revolution, social reform led to a change in dress 放。旗袍这一带有中国传统特色，体现西式审美 codes. This was characterised by a greater freedom 并采用西式剪裁的女性时装由之诞生。与此同 of expression for Chinese people, resulting in the 时，男性着装也开始深受西式风格影响。30年代 development of the now iconic ‘Qipao’ dress, which 和40年代是旗袍的黄金时代，也是近代中国女装 had its roots in traditional wear but became, like men’s 最为光辉灿烂的时期。 fashion of the time, influenced by Western styles of dress. Often ornate and beautifully crafted the ‘Qipao’ 1949年后，中国共产党执政中国。服装的审美功 became, by the 1930’s and 1940’s, the most significant 能渐渐被政治功能完全取代，一切受西方影响带 and fashionable style of female dress in China.

When the Communist Party came to power in 1949 these Western influences were rejected as clothing

5 有西方元素的服装服饰被深恶痛绝。到了文革时 came to represent nationalism, ideology and function- 期，服装的款式更趋贫乏，单调朴素，整齐划 ality. In the late 1960’s to the mid 1970’s, the Cultural 一。人们抵触精神污染，年龄与性别的差异不复 Revolution limited style further, regarding care over 存在。 personal appearance as a sign of spiritual corruption, and resulting in an androgynous style that made no 这个时代随着1976年毛泽东的逝世而结束。发展 real distinctions between male and female styles. 经济和对外开放的新政策，再次带来社会变革。 As this period ended with the death of Mao Zedong in 这不禁让人联想到发生在20世纪初的那场思想解 1976, a new economic and political policy of ‘opening up’ 放运动，人们重新获得了服饰穿戴的自由，又一 to the world manifested in an unprecedented experi- 次对代表着时髦与现代的西洋之风敞开了大门。 mentation of dress styles and a renewed interest in Western fashion styles. This new era of recent economic 1979年，皮尔卡丹作为第一个被中国人所知的国 reform and modernisation mirrored the earlier part of 际著名时装设计师，在北京，上海举办了时装 the 20th Century where in respect to fashion, 秀。观众仅为有限的专业人士，前所未有的视觉 modernisation meant Westernisation. 冲击，在当时造成了轰动。很快，其他国际品牌纷至沓来。1981年，耐克公司进驻中国，开办在 As early as 1979 Pierre Cardin presented the first international designer fashion shows in Beijing and Shanghai, 中国的第一家合资工厂，并取得销售权。在相对 albeit to a limited and professional audience and was 很短的时间里，刻板朴素的制服装迅速淡出于人 soon followed by other brands, notably Nike, who opened 们的视线，中国普通百姓的着装理念与穿衣习惯 their first joint factory and the rights to sell products in 日益走向国际化，当今的中国是全球第二大经济 China in 1981. In a relatively short space of time ordinary 体，有着自己成熟的时尚产业。在为众多国际品 Chinese replaced the previous uniformity with 牌加工制造的同时，也培植了无数杰出的本土设 international styles and embraced the homogenous 计师和品牌。时尚产业制造了新型财富，并日趋 styles found in any city, anywhere in the world. 国际化。2003年-2009年，我担任中国时装周国 Contemporary China is now the second largest economy in the world and has nurtured its own fashion industry. As well as manufacturing garments for internationally recognised brands, local designers are creating beautiful

6 际评委，亲眼见证了中国时尚产业令人叹为观止 collections and extravagant fashion events, which reflect 的飞速发展。在日益严酷的国际竞争环境下，既 new found wealth and global engagement. As a judge 保持了自身独特性，又实现了商业成功。 at China Fashion Week in Beijing from 2003 to 2009 I witnessed at first hand the significant development of 在本次展览中，我们又一次领略到时尚在岁月长 this industry, searching for not only its own identity 河中的循环往复。精美绝伦的手工刺绣，中西合 against the further emergence of global brands but the 璧的面料加工，精湛考究的中国传统服装制作技 commercial and business profiles that support success 艺，在中国当代设计师的作品中得到了继承与发 and recognition. 展。与现代设计理念及加工手法相融合，传统时 There is an almost cyclic journey through the exhib- 尚之美实现复兴。 ition with the pre-revolutionary pieces using fine Chinese and imported fabrics that incorporate hand 从新中国1949年成立至1979年改革开放之前，这 embroidery and skilful manufacturing techniques, 段历史时期的中国时尚，虽然带有浓重的政治色 through to the contemporary designers who are 彩，但那制作精良的革命制服所体现出的精准规 reviving traditional skills and developing modern styles 矩的简约之美令人难以漠视。 that are embedded with cultural resonance.

综上所述，本次展览意图通过多种信息载体，讲 Significantly the period post 1949, through to the 述服装及服装背后的故事。时尚无法独立存在于 opening up of China in 1979, although stylistically 文化真空中，时尚是社会，政治和经济影响的客 tempered by a political overview, are crafted with care 观反映。 and precision and have an inherent beauty that should not be underestimated.

Ultimately the narrative to the exhibition is the unique and individual stories of the garments and their owners or designers, supported by a broader visual and refer- enced context, yet recognising that clothing and style cannot exist in a cultural vacuum and is impacted on, by a broad range of social, political and economic influences.

Anthony Bednall 安东尼班德纳

7 Extravagance/Pre-1949 奢侈化/1949年前

展览中第一部分的旗袍来自于余静媛，余静岩姐 Surviving garments from sisters Yu Jing Yuan and Yu Jing 妹。她们的父亲曾是清末大理寺（司法部门）少 Yan form the first narrative of the exhibition. Their father 卿。余家生活在老北京一个有着巨大花园和101间 was a Chief Justice within the Chinese Supreme Court, 房间的四合院里。作为一个在北京富裕而又显赫 under the Emperor, and their family lived in a Beijing Courtyard style mansion (Si He Yuan). This courtyard 的家族，余家的生活做派不仅保持着中国的古老 house contained a hundred and one rooms as well as 传统，也开始渐受西洋风尚影响。 extensive central gardens. As an affluent and eminent 有关于余家的故事，在美国人大卫季德所著的《 family in Beijing, the Yu family engaged not only with 毛家湾遗梦》一书中有详尽的描述。他在1940年 traditional styles of behaviour and clothing but embraced 代生活工作于北京，并于1949年取余静岩为妻。 Western influences and style. 书中提到了在余家花园举办的几次化妆舞会，宾 The story of the family is documented in the book Peking 客们是来自于包括驻华大使在内的上流权贵；并 Story, The Last days of Old China by David Kidd, who was 特别记载了中外宾客风格各异的穿戴，奢侈华 an American living and working in Beijing in the 1940’s. 贵，不禁引人遐想。 He was to marry Yu Jing Yan in 1949 and documents lavish costume parties held at the courtyard with guests 旗袍是那个时代中国时尚的代表，继承了中国传 that included ambassadors and aristocracy. 统的手工刺绣技艺，结合西式剪裁与面料，发展 The Qipao dresses on display represent not only the 出独特的气质风格，至今在世界时尚舞台上占有 development of a specific and popular Chinese style of 一席之地。本次展览中的几件旗袍展品，充分展 the period, but a rare combination of both traditional 现了旗袍的这些特色。 and imported fabrics, exquisitely crafted and embellished by hand.

上世纪三，四十年代是旗袍发展的全盛时期，旗袍的款式可谓变化万端，异彩纷呈。袍身长度，领口高低，袖子长短，开衩深浅等等无不在千变万化中焕发出五彩的魅力。早期旗袍线条平直硬朗，衣身宽松，衣长至脚踝。改良旗袍在结构上受到当时欧美流行趋势影响，注重收腰和女性化，袍身更为称身合体，充分体现了女性自然的曲线之美。旗袍的面料十分丰富，纱，绸，缎，棉应有尽有。随着西方纺织品的源源涌入，各种新颖的洋面料渐成为时髦城市女性裁衣的新宠。旗袍在保持中国特色的同时，还大力引进了不少西式的装束元素，像欧洲服饰常有的锯齿形，圆齿形等不齐的裙摆，被加以仿效并扩展到领，袖 During the 1930’s and 1940’s the Qipao evolved from its origins as a loosely fitted and ankle length garment, to a 襟和上衣下摆等地方。垫肩也被首次运用到中式 shorter more body conscious silhouette. Sleeve lengths 服装中, 兼收并蓄中西服饰特色的近代中国女子的 varied from long to small capped sleeves, provocative 标准服装。 side slits got higher and some variations within the style 1950年，余静岩随夫移民至美国，此后再也没有 adopted Western style fit lines and shoulder pads. 回到中国。所展旗袍中的两件曾经属于静岩，据 There are two outfits on display belonging to Yu Jing Yan. 悉制作于1946-1949年间，并跟随静岩远去美国。 They are believed to have been made between 1946 and 直至2007年静岩辞世异国他乡，才又辗转回到北 1949 and were taken with her when she emigrated, with 京，成为历史片段的见证。 her American husband, to the United States in 1950. Yu Jing Yan never returned to China and after her death in 所展旗袍中的另外三件曾经属于余静媛。静媛于 2007, the seemingly unworn outfits, along with other 1930年左右嫁给民国著名古董鉴赏收藏专家赵汝 artefacts, were brought back to the family in Beijing and 珍。那件缀满华丽珠片的旗袍，即是她结婚礼服 became part of this archive. 中的一件。 The other three Qipaos on display belonged to Yu Jing Yuan who married an affluent antique expert Zhao Ru Zhen in 1930. One dress is a particularly beautiful example and is believed to be one, of a number of dresses made for this wedding.

10 11 这件旗袍采用欧洲进口的烫花天鹅绒面料，在下 The fabric for this dress would have been imported 摆和袖子边沿手工绣满花形珠片，精致耀眼，令 from Europe, as it is Devore, which is burnt out velvet 人过目不忘。 and the hand embroidered sequin trim stitched by expert craftsman. 静媛没有像她的妹妹静岩那样，在新时代到来之 Whilst Yu Jing Yan left China, her sister Yu Jing Yuan 际离开中国。现在的我们难以想象这些衣物是如 stayed and it is remarkable that these garments survived 何跟随它的主人历经文化大革命等等数次社会动 through the turbulence of the Cultural Revolution to the 荡，得以保存至今。在那个布料供应短缺的年 present day. During this period many garments were 代，人们将过去的衣物进行改制和再利用。展品 dismantled and re-made, as materials for clothing was in 中的那本图文并茂的剪裁书就是在教当时的人们 short supply. This is illustrated in the pattern cutting 如何改造旧衣物。静媛的旗袍在当时看来，既无 books that support this exhibition, where instructions are 实用功能亦无保留价值，完全一文不值。能够得 given on how to re-cut existing garments. Yu Jing Yuan’s 以幸存，要么是归功于它的主人对其太过珍爱， dresses were either too extravagant to undertake this 不忍舍弃；要么是因为无论如何改造，也无法掩 process successfully or too cherished to consider their 饰其奢华本质。静媛逝世于上世纪80年代初，她 destruction. They certainly had no resale value on the 把她的旗袍留给了她宠爱的孙女。这个当时只有3 open market of the time either. Before her death in the early eighties Yu Jing Yuan left the dresses to her 岁的女孩后来成为我的妻子。这就是这些衣物背 favourite grand daughter, Zhao Yan, who was only 后的故事，也是本次展览的灵感源泉。 3 years old at the time. She was to later become my wife and it was the story of these garments that ultimately inspired this exhibition.

12 13 Uniformity/Post-1949 制服化/1949年后

1949年，中国共产党执政的新中国成立了。毛泽 When the Communist party came to power in China in 东成为党和国家的最高领导人，中国开始了闭关 1949 there was a radical shift in the nature of fashion and 锁国的政策。党的领袖和革命干部的着装风格开 clothing from the previous class driven and foreign 始影响普通人民群众，并被人民群众爱戴和接 influenced styles. 受。自此直至70年代末，不分阶级，职业，年龄 Mao Tse-tung, the party head and supreme leader, 甚至性别的制服装成为中国时尚的绝对主流，象 recognized the power of dress to create shared identity 征着中国人民的革命热情和对新政府的拥护支 and the style of clothing he and the communist party 持。由于毛泽东经常在公开场合穿中山装，西方 members favoured became the dominant style from the 习惯称中山装为“毛装”。中山装也成为西方人 1950’s through to the late 1970’s. This utilitarian and 眼中中国共产党的代名词。事实上，中山装是中 standardized style not only rejected differences in rank, class and gender but symbolised revolution and a new 国革命的先行者—孙中山于1912年设计的。1911 China with its own identity. This iconic style is now 年辛亥革命爆发，中国最后一个封建王朝彻底崩 recognised as a national costume of China and became 溃。中山装在保留军服的某些式样的基础上，融 known globally as the Mao suit. In reality this suit was 合了中西方服饰的优点，代表着现代化，民族独 designed in 1912 by Sun Zhongsan (Sun Yat-sen), the first 立和革命理想，在当时得到了广泛流行 President of the Chinese Republic as a response to the end of the Qing Dynasty and the traditional garments that were inappropriate for modern citizens of a new nation. The suit was based on a combination of styles including Japanese Cadets and Western tailoring and is still known today, in Mainland China, as The Zhongsan Zhuang (Zhongsan suit).

14 15 毛泽东及其他早期革命者在20年代与当时的年轻 Versions of the suit became popular across China during 人一样，开始穿着中山装，并最终选择身着中山 the early years of the Republic, representing modernism, 装出席1949年的开国大典，在天安门城楼上庄严 national identity and revolutionary ideals. Mao Tse-tung 宣布新中国成立。 probably adopted this style as a young man during the 1920’s along with other early Communist Party members. 展览第二部分的衣物展品反映出，在1949年解放 Ultimately the Party would embrace the style and modify 后的三十年间，人们的着装风格日趋单调，色彩 it until by 1949 it became representative of the newly 沉暗，样式整齐划一。在那件60年代男式军装的 formed People’s Republic of China. 领章背后，记录着该士兵的年龄，籍贯和血型； The garments that represent this post 1949 period in 那件绿色女式军装的主人叫杨华(音译)，她于 the exhibition show a consistent approach to this notion 1970年参军入伍，并在军队艺校中接受了5年的 of shared identity yet also reflect the individual stories 舞蹈训练，之后成为中国著名舞蹈家。 of the owners. The red lapel pieces attached to the male military jacket uniform have on the reverse side the soldier’s name, and blood group and dates from the 1960’s. The female military uniform belongs to Yang Hua and was issued to her upon joining the army in 1970. She attended the military dance school, which focused on ballet with Chinese folk traditions and after five years training went on to become the Chinese National Dance champion.

16 17 虽然那是一个集体主义至上的年代，但人们从未 Although there was uniformity and anonymity 放弃在穿着方式的细微之处体现个体的存在。 throughout this period there were slight differences within the garments and the way that they were worn. 在城市里，大部分人们的服装由自家或裁缝手工制作。能拥有一件购自上海，由工厂加工制作的 The blue cotton jacket on display was considered more stylish than many since it was produced in a factory, in 中山装，是值得向人炫耀的。展出的蓝色迪卡中 Shanghai, around 1970. In most cities, the majority of 山装，制作于1970年，购于上海。 these jackets would have been made by local tailors or 不同的面料也能区分出穿着者不同的社会地位。 by the people themselves and therefore did not have a 政府官员们通常会选择毛，呢等高档织物作为他 factory finish, which represented new manufacturing 们中山装的面料。年轻的女人们会在严肃刻板的 technology and were consequently sought after. Some versions of this common jacket had slightly better weights 制服下面穿上各种花布衬衫，“不经意”地在领 of fabric, which may have included wool or linen, and 口和袖口边露出来，以显示与他人的不同。 these would have symbolised a higher position within 由于纺织品的供应不足，大部分人日复一日的穿 the society. 着同一件衣服。为了延长使用寿命，衣服一周只 Women’s shirts of the period could be in a variety of 洗一次，一直要穿上五，六年。 colours and prints and young women would wear the shirt collars over the outside of the jacket collar to hint at individual identity. Ultimately people would own a limited amount of garments, most would be worn daily, washed only once a week and would be expected to last 5 or 6 years.

18 19 Contemporary Designers 当代设计师

顾新 Gu Xin

当今的中国本土设计师面临着异常严峻的市场竞 It is extremely difficult for local designers to compete 争环境。拥有雄厚资金和成熟市场营销经验的西 within China’s contemporary retail environment. Western 方品牌，在中国占有很大优势。举例来说，像意 brands with their financial and marketing superiority dominate the market in China. For example Italian brand 大利品牌Max Mara,在中国各大城市开设有多达 Max Mara has a total of 250 stores all situated in prime 250家连锁分店。其他各大顶尖品牌如路易威登， locations across the country and along with other major 夏奈尔，古琦，注资巨大，店铺遍布包括二线城 brands such as Louis Vuitton, Chanel and Gucci have 市在内的中国各大，中型城市。在中国巨大的人 invested heavily not only in the major cities but also in 口基数中，那一部分持续增长的富裕阶层的强劲 the second tier cities. The vast population and the 购买力，使中国迅速成为全球最大的奢侈品消费 increasing amount of disposable income available to a 市场。中国的独立设计师们不得不在有限的生存 section of the community has led China to become one 空间里另辟蹊径。顾新的工作室位于北京繁华的 of the fastest growing markets for luxury brands globally. 商业中心--三里屯，以经营个人定制为主。她的作 Designers such as Gu Xin therefore rely on a studio 品以手工刺绣闻名，经常活跃于红地毯和其他特 based, client orientated business model. Her brand 殊场合。追随着西方品牌发展的历史脚步，顾新 ‘Mostarry ‘ is located in Sanlitun, which is a commercial centre in Beijing, and is known for handcrafted garments 以及其他中国当代设计师以经营满足少数富裕人 suitable for red carpet events and specialist commissions. 士特殊着装需求的个人定制为起点，走向自己品 In effect she is like many contemporary Chinese fashion 牌的发展之路。 designers, following in the historical footsteps of the Western brands by developing a customer base from the affluent, who are searching for uniqueness.

20 21 范然 RanFan

范然-中国新生代时装设计师，毕业于英国圣马丁 RanFan is one of the new breed of up and coming 学院服装设计专业，现居北京。前卫的剪裁和国 Chinese fashion designers. Now based in Beijing, she 际化的视角为她迅速赢得了声誉。2010年，范然 studied fashion in the UK at Central St Martins and upon 荣获Ellassay时尚创新大奖和中国年度设计师大 returning to China, immediately gained a reputation as a cutting edge designer, creating contemporary designs 奖。2011年，获得由中国服装协会颁发的最佳设 with an international feel. In 2010 her collection won 计师称号。 her the Ellassay Fashion Innovation Award and the 作为独立设计师，范然不仅局限于小规模的个人 Cosmopolitan (China) Fashion Designer of the Year 定制，还涉足零售市场。中国有很多公司在代理 Award, whilst in 2011 she was also given the Best Fashion 销售她的品牌。从长远看来，这种专门经营独立 Designer Award from The China National Garment Association and China Central Television. 设计师作品的销售方式为零售市场提供了新的模式。本次展品来自范然2011夏季作品集，曾随《 RanFan not only works from her own studio, creating 时尚》杂志赴南非进行拍摄。 individual pieces for clients but is also part of the developing independent retailer market, selling her collections to a range of companies across China. This is a new departure in the Chinese retail sector and could well herald the beginnings of high-end designer brands in the long term. The garment on loan is from the 2011 summer collection, it has also been to South Africa where it was photographed for Vogue.

22 23 24 25 童雪涛 Tong Xue Tao

旗袍在全世界范围内，被公认为是经典的中式女 The Qipao is now globally recognised as the classic 装，在各种重要场合，节日庆典上代表着中国的 Chinese garment for women. Individual crafted 形象。旗袍适合各种身材和年龄的女性穿着，看 versions in silk with embroidery are still sought after 似形式简单，却在细微之处有着丰富的内容。如 by celebrities and government agencies as representing national identity. 那繁复精巧的盘滚和巧夺天工的盘扣。童雪涛在北京的服装院校从事旗袍艺术的一线教学。作为 As a garment the Qipao is suitable for women across 设计师，她尤其在传统手工制作上有着精湛的造 different sizing’s and ages. Although initially this seems 诣。本次展出的她的作品，是童雪涛为参加2011 like a simple garment it is full of details, including specific 年世界小姐大赛的中国选手专门设计定制的。 fit lines, hand piping and the individual construction of knotted button fastenings called Pankou.

The Pankou contain both symbolic and decorative motifs and are the product of thousands of years of knotting craft.

Tong Xue Tao has been teaching the art of the Qipao in Fashion Schools across Beijing and training students to understand the subtleties of the fit and the traditional techniques required to fully understand the complexities of the garment. As a designer she not only creates designs for a range of clients but has also produced Qipao for exhibitions and prestigious events. The modern version of the Qipao on display in this exhibition was created for Miss China to wear in the 2011 Miss World contest.

郭培 Guo Pei

郭培是中国第一代时装设计师，从事服装设计将 Guo Pei began her career in the early 1980’s and is 近25年，是中国时装高级定制的领军人物。她和 recognised as one of the first generation of Chinese 她的玫瑰坊工作室为包括政界要员，社会名流， fashion designers. Under her company name Mei Gui Fang (Rose Studio) she is the leading Couturier in China 影视明星在内的高端客户设计制作礼服。她的作 and her list of clients includes people from Beijing’s 品出现在2008年北京奥运会开幕式，闭幕式及颁 highest political, media and social circles. Her designs 奖仪式上，及具中国特色，做工考究，令人惊 were notably featured throughout the Beijing Olympics 叹。她那件花费5万个小时，100个绣工，纯手工 of 2008, including the ceremonial dresses, as well 制作的金色华服，代表中国远赴巴黎参加法国高 individual garments for performers, at the opening and 级时装周，引起轰动。在位于北京中心地带，面 closing ceremonies. Guo Pei stands out from other 积达三千多平米的玫瑰坊总部，那富丽堂皇的会 contemporary Chinese designers due to her revival of 客厅，风格迥异的试衣间，营造出唯美奢华的艺 many lost embroidery techniques as well as her catwalk 术空间。令人恍若置身于Maison Lesage（世界 collections. These are on a scale that equal, and in some 顶级刺绣大师）的巴黎会所。在郭培的作品中， cases surpass, the technical feats of Paris couture, with 你可以找到稀有罕见，几近失传的中国传统刺绣 one dress in particular taking 50,000 hours to hand embroider in gold. Her showroom and studio, in Beijing, 和剪裁技艺，也可以领略西方工艺与东方元素的 is both elaborate and functional and harks back to an age 有机结合。所展出的影像资料和实物作品来自郭 of opulence and craft similar to the Maison Lesage 培2007年时装发布。 embroidery atelier of Paris. She manages to perfectly combine oriental references with Western style cutting and her attention to detail underpins all of her work. This can be seen in the hand crafted garments loaned for the exhibition and the catwalk pieces from 2007, illustrated through the supporting visuals.

28 29 30 31 Acknowledgements

Anthony Bednall would like to thank the following: Published by: text+work, The Arts University College at Bournemouth

Fedrick Wang joint curator of the archive in Beijing, Fangfang. Produced by: text+work, The Gallery, Photography and translations: Guo Pei and Cao Bao Jie (Jack), The Arts University College at Bournemouth RanFan, Dominic Turcotte (video editing), Gu Xin, Snow, David Printed by: Dayfold Ltd., Verwood, Dorset. Evans, Wang Rong. All staff at AUCB who have helped to make A Limited Edition of 1000 essay is printed for this this exhibition possible. text + work event.

Credits List of plates

© 2011, copyright of the texts resides with text+work, the Arts P. 3 Yu Family Photograph circa 1930 (courtesy Zhao Yan) University College at Bournemouth and authors, including the right to reproduce. The Arts University College at Bournemouth P. 9 Pink Qipao belonging to Yu Jing Yuan 1932-34 holds the intellectual property to text (s) and respects all moral (photography Fangfang) rights. Images copyright resides with Fangfang and the named P. 11 Embroidered Qipao belonging to Yu Jing Yan 1948-49 agencies and copyright holders. (photography Fangfang)

Disclaimer: Every effort has been made to trace the copyright P. 13 Devore and sequinned Qipao belonging to Yu Jing Yuan holders, but if any have been inadvertently overlooked the 1930 (photography Fangfang) necessary arrangements will be made at the first opportunity. P. 15 Women’s Army Uniform loaned from Yang Hua 1970 (photography Fangfang) The text/essay in this publication reflects the view of the author, and not necessarily those of text+work, the Arts University P. 17 Women’s printed shirt/jacket owner unknown 1958-60 College at Bournemouth and editors. (Bednall Archive) (photography Fangfang) P. 19 Blue Cotton Men’s Jacket (loaned from Zhao Shu Hua) No part of this text/essay may be reproduced in any material 1970 (photography Fangfang) form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally P. 21 Gu Xin collection 2007 (© Gu Xin) to some other use of this text/essay) without the written P. 23 Ranfan collection 2011 (© Ranfan) permission of the copyright holders. P. 25 Ranfan collection 2011 (© Ranfan) A catalogue record of this publication is available from P. 27 Coat Detail Tong Xue Tao Collection 2005 the British Library: (photography Fangfang) British Library Cataloguing–in–Publication Data P. 29 Jacket Detail Guo Pei Collection 2010 ISBN: 978-0-901196-49-1 (photography Fangfang) Edited by: Stephanie James and Violet McClean P. 31 Guo Pei Collection 2007 (© Guo Pei) Design and Layout by: Phil Jones, [email protected]