Exhibition place：Fashion Gallery, China Silk Museum

Exhibition time：2018.10 - 2018.12

Organizer: Zhejiang Provincial Department of Culture, Bereau of Cultural Relics of Zhejiang Province

Host: China National Silk Museum

Co-Organizer: Silk and Fashion Culture Research Center of Zhejiang Province, Zhejiang Schi-tech University

Preface

Garment can be regarded as a historical picture on the body, which is the most sensitive vane of fashion change. And it records in a non-text form of historical changes, social development, the progress of civilization, the transformation of people's way of thinking.The brilliant achievements of 40 years of reform and opening up can be found in the most intuitive and subtle way --- the changes of people's clothing in different times.

The 40 years of reform and opening up is also the 40 years of the development of China's garment industry. The clothing art and fashion culture have awakened, collided, merged and changed in these 40 years.“The nation is the world”, which is the most common attitude and concept when Chinese art and culture spoke to the world at the beginning of reform and opening up.As China moves towards the world, the elements of traditional culture and national style in fashion also show obvious characteristics of the times, showing the growing cultural confidence of Chinese design and Chinese fashion.

The exhibition is divided into four parts. Taking the changes of Chinese elements as a clue, the symbolic works of important designers in the process of Chinese fashion development are selected. It shows the inheritance of Chinese fashion culture, the understanding of itself and the perception of the world. It also reflects the changes of Chinese people's aesthetic consciousness, consumption level and lifestyle. The foundation for those changes is the rapid development and great achievements of China's fashion education, industry and market.

Part 1: The Age of Innocence (1978-1992)

Once upon a time, Chinese people were called “blue ants” by Western medias because of their monotonous clothing styles and dull “blue、 black、 gray”tones.In 1978, the spring breeze of reform and openning-up swept the land of China. Great changes have taken place in China. People's long-sleeping love for beauty has been released, their clothes are becoming increasingly colorful.Even a novel, a movie, a game would trigger the enthusiasm of the people of the whole country, forming a national popularity, leaving a memory of the times.

Poster《街上流行红裙子》：1984年长春电影制片厂摄制的《街上流行红裙子》，是改革开放后第一次以时装为题材的电影，记录了80年代初期人们思想观念的变化，是继《庐山恋》之后又一部引领时尚的作品。银幕上的“红裙子”，是中国女性从单一刻板的服装样式中解放出来，开始追求服装色彩和样式的一个标志性道具，自此，一个多色彩的女性服装时代正式到来。

梅花牌运动服：几乎每个80后学生时代都穿过的服装，梅花、李宁、回力、飞跃……这些国货名牌，伴随着改革开放后年轻一代的青春成长，如今又在新国潮的时尚中获得了新生。

Part 2: Native Land Emotion (1993-2008)

Beginning with the first “Brothers Cup” China International Youth Fashion Designers Competition in 1993, the first generation of Chinese fashion designers came on the stage after the reform and opening up. Most of these designers have the education background of art schools, ups and downs of life experience, and have a strong sense of patriotism and mission.The work reflects a deep love for Chinese culture, inspired by traditional cultural symbols such as Dunhuang and Qin figurines, and adopts artistic design language to express a deep feeling of home and country.

重点展品：

吴海燕《鼎盛时代》：作品精心提取中国传统文化元素，竹编头饰富有中国古典亭台楼阁的造型意味，通过手绘丝绸和对比感的配色来表现极具古韵风味的时装艺术效果。

马可《秦俑》：作品通过艺术化的材质搭配再现古代秦俑朴拙而威武的风采，将中国的传统内涵转换成现今的创意精神。作品具有张力，浑厚、质朴而博大。

裘海索《寻凤行凤循凤》：作品将具有千年文化积淀的传统手工染色精华——蜡染作为设计主体，用具有质朴、原始、自然的传统染色技法表现耀丽的纹饰图样，将传统工艺与现代时装造型相结合，使时装朴实中现华丽。

郭培《2008北京奥运会颁奖礼服》：2008年北京奥运会颁奖礼服系列中的三款（国槐绿、玉脂白、宝石蓝）。国槐绿系列寓意蓬勃朝气、生命力，体现了与自然和谐发展的美好愿望及坚守“绿色奥运”的决心。宝石蓝系列采用温润典雅的宝蓝色作为礼服主色，腰间饰有采用传统盘金绣。玉脂白系列巧妙地呼应了奥运奖牌金镶玉的理念，彩绣腰带和玉佩的组合，既是中国玉文化的完美再现，又是对传统旗袍设计的创新。

Part 3: Chinese Elements (2009-2018)

After the 2008 Beijing Olympic Games, the spread of China's image has entered a new stage.Chinese elements have become a popular style in the international fashion arena. While synchronizing with international fashion, local designers have changed their grand narrative of Chinese elements, which does not have to carry the mission of voicing to the world, or inherit the profound Chinese culture, but is reduced to the design elements of clothing itself. They use a more mature and fashionable design language to display the luxury, elegance and mystery of Chinese elements.

重点展品：

吕越《中国印》：作品是2009年为中华人民共和国建国60周年庆典活动而设计制作的。60枚印章分别代表新中国走过的60年历程。服装采用中国老百姓喜闻乐见的大红色，以带有传统纹样的中国丝绸与西式晚礼服款式结合的造型，将东方和西方元素有机的结合起来，传递不同文化的视觉印象，呈现出西方文明与中国传统的融合。

刘君《墨色》：作品将“云一缕、玉一梭，玉树琼枝作烟萝，和月和花”的中国古典诗词意境与现代时装设计手法相融合，墨色雾纱中隐约白色缠枝烟罗，内件小礼服轻纱层叠堆砌出烟墨晕染、月色华美的效果，通过材料质感与多层次设计来营造时装整体的意境之美。

薄涛《水瑟丹青•白云红树图》：作品以故宫博物院的藏画作为设计元素，创造性地将明代蓝瑛的《白云红树图》融入设计优美曼妙的时装，运用织、染、印、绣等工艺将书画浓缩于一件充满了东方典雅的礼服之中。把中国优秀古典文化与现代时尚巧妙融合，充分再现经典的传承之作。

Part 4: The Great Power (2018——)

After 40 years of reform and opening up, China's fashion has become a clear and vivid image --- which starts from 5000 years of civilization, is inherited after new China, and flourishes in contemporary China.The current Chinese fashion has shown a state of blossoming, has different elements and styles, various design language expressions, and use of various new materials and high-tech. It is, or heavy or light, or bold or restrained, or aesthetic romantic, or personality trends, the great power.

重点展品：

王雷《今日大汉》：作品以汉代服饰为造型元素，收集大量记录当下时事和新闻报道的报纸，经过挑选、裁切、粘贴、抽取、打湿、搓线、打板、编织、缝合、熨烫等数十道手工工序后制作成衣。伴随国家提出了“一带一路”战略，让昨日的丝绸之路重现历史的光明。作品巧妙采用标志丝绸之路的汉代服饰，使用今天的事（报纸信息）来说古人的事，以古喻今，古今结合，用今日的材质表现昨日的形式。

曾凤飞《新中装》：2014年APEC会议领导人服装，服装采用新式宋锦面料，以中国传统经典款式立领对襟和盘扣工艺，融合海水江崖等传统纹样的创新设计，传达21个经济体山水相依、守望相助的美好寓意。服装在款式上，既严谨、庄重，又包容、大气；在纹样上，既寓意吉祥，又华而不炫、贵而不显；在色彩上，既喜庆、热烈，又纯正、时尚。整体上气势恢宏，仪式感强，表达了中国人“有朋自远方来不亦说乎”的好客之道。

劳伦斯•许《敦煌》：作品以丝绸云锦为面料，采用刺绣工艺，围绕敦煌元素设计，以唐代的花纹色彩扩展形成，服装色彩由淡蓝色向金色渐变，胸前就像一朵绚烂的丝绸之花。作品融合了千年历史和当代时尚元素，创意性的将云锦、山、水、城、林，中国传统文化艺术相结合，演绎东方古典时尚。