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 1 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 inter- national 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. 8 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