Vitality sets sail, allowing productivity related to "New Chinese Style" to emerge
2024-08-10
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Fashion is the product of inspiration and the result of value operation.
On Jiashan Road in Xuhui District, the Guose Dongfang New Chinese Style flagship store covering hundreds of square meters will be completed. High-quality "new Chinese style" brands will be selected nationwide to join, and the "new Chinese style" brands will be displayed through ready-to-wear sales, high-end customization, and experience activities. This first "new Chinese style" integrated buyer store in Shanghai is intended to collect and export theories, technologies, standards and aesthetic systems related to the "new Chinese style", better carry the connotation of traditional culture, smooth the industrial chain, technology chain, and supply chain, magnify the economic value of the "new Chinese style", open up the international and domestic markets, and set sail with vitality.
Going deeper, when aesthetic value and cultural significance become the current focus of "New Chinese Style", Dongfang International (Group) Co., Ltd., which is deeply engaged in the textile and clothing industry, has more dimensional thinking - how should the economic value of "New Chinese Style" be explored? How to transform it?
Fashion is the product of inspiration and the result of value operation. Tong Jisheng, member of the Standing Committee of the Municipal CPPCC, Secretary of the Party Committee and Chairman of Dongfang International Group, believes that the parallel of cultural connotation and economic value is the perfect expression of "New Chinese Style". "'New Chinese Style' is a revolution in industrial technology, craftsmanship and market, a combination of historical and current development, and a combination of the achievements of Chinese and foreign fashion civilizations."
Furthermore, this requires a systematic architecture for the "New Chinese Style", and in this process, the productivity related to the "New Chinese Style" should emerge, the economic value should be demonstrated, and the industrialization should be iterated. This is regarded as the vitality of the "New Chinese Style", and it has also become a breakthrough for Shanghai to amplify its visibility as an international consumer center city, and better assist in cultural supply and cultural self-confidence.
standard
The location of the "New Chinese Style" buyer's store was the old factory of the national brand Sanqiang in the early 1980s. The Hengfu Historical and Cultural Area is a natural blend of the East and the West, and has also witnessed the exploration and development of national brands in fashion for more than half a century.
When Tong Jisheng was thinking about the "new Chinese style", it was still an unformed concept. At that time, he wore the new Chinese clothing styles developed by the group almost every day. At first, he was a little uncomfortable. Gradually, others took the initiative to accept it, saying that it was "pretty good-looking".
Authoritative expressions of aesthetics and fashion sometimes rely on certain standards.
But earlier, clothing and accessories in China were only commodities, and there was no relevant theoretical interpretation and research. What exactly is the "new Chinese style"? There was also a debate among hundreds of schools of thought - some advocated the retro style of reproducing traditional Chinese clothing elements, while others advocated the modern expression of Shanghai style. If we talk about retro style, do we need to carefully consider the position of pockets in clothing design? If we talk about Shanghai style, what kind of innovation does modern expression absorb, and how should fabrics be innovated? ...
To sort out the myriad of issues and to create a set of standards based on a mature theoretical system has become a top priority in developing the "new Chinese style".
When it comes to seizing the high ground of standards, China Eastern International has two considerations: in the short term, it is to gain a first-mover advantage in the "blue ocean" stage of the industry; in the long term, the "new Chinese style" will inevitably become a new trend in the world, and it is necessary to enhance its voice in the global industry.
In 2022, the new Chinese clothing series standards (group standards) were released in Shanghai, which clearly defined "new Chinese style": it refers to clothing that has Chinese clothing elements, combines modern dress and aesthetic awareness, embodies traditional aesthetics and cultural heritage, and integrates modern technologies such as new materials, new processes and new technologies, and is suitable for wearing at different times, places and occasions.
The introduction of standards is equivalent to leading the way in the industry. However, designers are imaginative and unrestrained, and fashion itself is an industry that keeps pace with the times and emphasizes creativity. What does such a standard mean to the industry? "It is equivalent to telling practitioners that the design and production of new Chinese clothing should at least be higher than this standard. Including the standards for selecting themes, fabrics, and craftsmanship, so that the product quality is higher and more creative." Zhu Weiming, Party Secretary and Executive Director of Shanghai Textile Fashion Industry Development Co., Ltd., can see clearly that the standard divides new Chinese clothing into government series, business series, casual clothing, performance series, daily series, etc., which will help the "new Chinese style" to be further refined and evolved. Designers think in the direction of scenario-based thinking, which also opens up more possibilities.
Innovation
Cloud shoulders, buttons, dark patterns, Chinese-style front lapels, totems, fabrics, accessories, colors, weaving techniques - when these traditional Chinese clothing elements are stacked, a Chinese feel comes to the fore. But how to reflect the word "new"? This requires both a change of thinking and a translation process.
For example, in terms of cutting, Tong Jisheng said that traditional Chinese clothing emphasizes two-dimensional cutting, and most of them are cylindrical structures. Western three-dimensional cutting fits the human body better and is more comfortable. Completely copying Western structural designs does not conform to the body characteristics of Oriental people. Another example is fabrics. If the "new Chinese style" sticks to the traditional fabrics of Chinese clothing, it will lack affinity and functionality.
"The so-called structural design is to show the aesthetics of the human body and cover up the shortcomings of the body. The technical content of the 'new Chinese style' should be fully recognized. The cutting pattern, color and pattern are all scientific research, technology and craftsmanship articles worthy of improvement." Tong Jisheng said.
At present, China National Nuclear Corporation also regards the "new Chinese style" technological innovation as an opportunity to leverage the company's new quality productivity and accumulate energy for development.
The sound of the spinning machine is worth a fortune - this "labor chant" that once resounded throughout Shanghai's textile enterprises has changed its appearance in the process of industrial transformation. Today, new words such as "clothing engineer" and technological spinning have not only permeated the front line of design and production, but also honed new concepts and new economic values. In traditional textile operations, 10,000 spindles require 250 spinning workers, but now only 8 are needed. The efficiency improved by automation and intelligence is economic value.
Traditionally, clothing materials are only animal fur, cotton and petroleum. Now, agricultural straw, new fiber and other degradable textile materials and recycled textile materials can be used as materials and accessories, and the cost is reduced. The "new Chinese style" is entering the mass market at a more affordable price, demonstrating new economic value.
Even a button has its own detailed craftsmanship. Some designers can achieve the ultimate in craftsmanship, such as hand-embroidery with gold and silver threads; some designers use polyester blended machine embroidery to reduce costs. Zhu Weiming said that in the design and production of "new Chinese style", the use of a variety of materials is increasingly encouraged. "Whether it is a high-end customer group or a mass market, detailed classification and grading have opened up the gradient and expanded the audience. As long as consumers pay for it, it is a reflection of economic value."
prospect
Facing the market directly is the most direct way to construct "new Chinese" economic value.
Tong Jisheng once attended the Cannes Film Festival in France wearing the "New Chinese Style". His outfit made a French fashion expert sigh: "Should the collar of the suit be changed?" This is not accidental. The international fashion industry has expressed its appreciation for the "New Chinese Style" aesthetic.
Zhu Weiming told reporters that the influence of Chinese elements and Chinese brands released at Shanghai Fashion Week and overseas fashion platforms is growing. Dongfang International Group once helped Chuxiong Yi embroidery in Yunnan to appear on the main show of New York Fashion Week Spring Studios and Milan Fashion Week. At that time, it caused a sensation at home and abroad for a while.
This also brings new propositions and new thinking - how to tell the "new Chinese style" brand story well in a global context.
Grace Chen, a high-end fashion brand that once became popular for its "new Chinese style", has explored the interpretation of the trilogy of Chinese classical literature in clothing design. One of the chapters, "The Mood of Song Ci", is talked about by the brand's founder and chief designer Chen Yehuai - the aesthetics of the Song Dynasty is not only interpreted as simple and restrained. "Take Su Shi as an example. His optimistic view of life and the mood of creating life have allowed the brand to extract the keywords of 'spicy youth, straightforward and lively', and then integrate modern design language to create high-end fashion that contains the aesthetics of the Song Dynasty and fits the current life scenes." In the eyes of many high-end customers, Grace Chen is already comparable to internationally renowned high-end brands.
"When we use modern concepts and techniques to collide with traditional Chinese culture, the imagination space generated is unlimited. China's 56 ethnic groups are a treasure trove for designers to draw inspiration from. Chinese and foreign designers' understanding and refinement of Chinese symbols will be more artistic and imaginative," said Tong Jisheng.
Looking at the "new Chinese style" market, the prospects are promising.
"The economic foundation determines the rise of the 'new Chinese style'. On the one hand, when per capita income reaches a certain level, consumers will begin to pursue independent fashion. At the same time, compared with the past, the consumer group, mainly young people, has a broader vision and is more tolerant. They are the 'generation that looks at the world with equal eyes' and have stronger cultural confidence."
In the domestic market, the "new Chinese style" based on standards and systems and improved in design combines clothing, social interaction and aesthetic functions, highlights personal taste, and can be widely accepted and recognized by consumers. Looking at the global market, the "new Chinese style" carrying Chinese traditional culture and aesthetic concepts will also open up its identity and visibility after being translated and created by designers, and occupy a place.
Shanghai, a city that embraces all, is undoubtedly the best starting point for the “New Chinese Style” to set sail.
Author: Su Zhan
Text: Our reporter Su Zhan Photos: Provided by the interviewee Editor: Shi Wei
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