东华大学SCF学院 2024届服装创意设计专业 毕业作品展 纶廓
展览地址：上海市虹口区四川北路989弄 今潮8弄5号楼2楼 展览时间：2024.4.27-2024.5.4 轮字谐音“纶”，寓意丝线，代表服装班，满腹经纶，才华横溢。廓字指建筑外城，代表室内班，思维开拓，灵感无限。 轮廓，亦可延伸为时间的轮廓与未来的轮廓。SCF20级每位同学的作品所勾勒出的轮廓，共筑大学四年学习的成长和回忆；而作为新一代时尚行业的弄潮儿，我们的作品也代表着未来时尚设计的发展方向。 作品展示
马鑫宇 Maxine Ma 溯 Pursue Idleness 指导老师：顾力文
我的项目主题是闲散的生活，灵感来源于一项户外活动——溯溪，这是一项非常轻松的活动。作为一个大城市的一员，我和许多人一样，想释放压力，获得一些闲散的情绪。我希望在这两个场景中探索城市与户外的关系，打破服装的界限。让人们既能在户外放松身心，又能在都市压力下重新释放压力。时尚休闲服和浮力救生衣能给我灵感，给我很多发展方向。我希望结合很多有趣的元素，让我的系列能体现出一种轻松的氛围。 My project theme is idle life, inspired by an outdoor activity-river tracing, which is a very relaxing and enjoyable activity. As a member of a big city, I, like many others, want to re-lease stress and gain some idle emotions. I hope to explore the relationship between the city and the outdoors, and break the boundaries of clothing in these two scenes. Let people not only relax outdoors, but also re-lease stress under urban pressure. I believe that smart casual wear and buoyant life jackets can provide me with inspiration and give me many directions for development. I hope to combine a lot of fantastic and interesting elements, so that my collection can reflect a relaxed atmosphere.
汤陈 Chelsea Tang 小丑日记 The Clown Said No 指导老师：李峻、傅白璐
小丑文化的流行，是我们渴望变得华丽、幽默以满足社会和他人需求的外在表现，而我们的内心情感却饱受束缚。如果小丑的情感不能自由表达，又该如何安置？同样，现在Z世代的青年常常将自己隐藏在社交面具之后，这其实是对自己内心的一种恐惧。每个人心中都有一个小丑，这是我们每个人内心触底时刻的裂变。我希望通过这个项目鼓励人们迈 出自由的第一步，根据直觉做出决定，相信自己的直觉，勇敢表达情绪。 The popularity of clown culture is an external manifestation of our desire to become flashy and humorous to meet the needs of society and others, while our inner emotions are constrained, If the emotions of clowns cannot be freely expressed, how should they be placed? Similarly, the current generation Z youth often hide themselves behind social masks, which are actually a fear of their own inner selves，Everyone has a clown in their heart, which is a fission at the moment when each of us reaches the bottom. I hope to encourage people to take the first step towards freedom through this project, to make decisions based on intuition, and to believe in their own intuitive resistance actions.
毛慧 Grace Mao 庇护所 Shelter 指导老师：郑嵘
学生时代每次雨天时坐在奶奶的自行车后座上，躲在奶奶的雨衣里。我的世界仿佛只有那么大，唯一能看到的是脚下被雨水打湿的地面，以及通过雨衣的一块透明膜看到的快速移动的街景。奶奶温暖的体温，狭小的世界，给我带来了一种特别的安全感。这种安全感来自于当我躲在雨衣下时，我仿佛是隐形的。雨衣如同一层保护罩，为我挡住了外界对于我的视线，但是我却可以通过缝隙来观察外界。所以我将着重于这种凝视与反凝视的关系开展更多的调研。 When I was a student, I sat on the back of my grandmother's bicycle and hid in her mackintosh every time it rained. It was as if my world was only that big, and the only thing I could see was the rain-soaked ground under my feet and the fast-moving street scene seen through a transparent film of the mackintosh. The warmth of my grandmother's body heat and the smallness of my world gave me a special sense of security. This security came from the fact that when I hid under the mackintosh, it was as if I was invisible. The mackintosh acts as a protective shield for me, blocking the outside world's view of me, but I am able to see the outside world through the gaps. Therefore, I will focus on this relationship between gaze and counter-gaze to conduct more research.
郝耘含 Yohanna Hao 膨胀空间 Expansion Space 指导老师：郑嵘
我的项目灵感来自 1968年富勒提出的“曼 哈 顿 穹 顶 ”计 划（ Manhattan Dome）。一个直径为2英里的穹顶覆盖曼哈顿市，将机械外壳作为生物皮肤进行风、光、热的调控，人 为地建立起一个具有自身新陈代谢的人工环境调控系统。这是 富勒对未来人居模型研究提出的前卫构想。在此基础上，我调研了一种名为“气承式膜结构”的建筑结构，它无需梁柱支撑，仅通过充气便可形成巨大的建筑空间。结合 灵感来源，本项目将重点研究以充气膜结构为灵感的服装设计，通过充气结构呈现一系列概念化的未来主义设计。 My project is inspired by Fuller's Manhattan Dome project of 1968. A 2-mile diameter dome would cover the city of Manhattan, using the mechanical shell as a biological skin to regulate wind, light, and heat, ar tificially creating an ar tificial environmental control system with its own metabolism. This is the avant-garde vision proposed by Fuller's research on modelling future human settlements. On this basis, I investigated an architectural structure called air-bearing membrane structure, which does not need beams and columns to support it, but only inflates it to form a huge architectural space. Combined with this source of inspiration, this project will focus on clothing design inspired by inflatable membrane structures, presenting a series of conceptualised futuristic designs through inflatable structures.
陶骥成 Judy Tao 木雕 Woodcarving 指导老师：郑嵘
我深受家乡没落的木雕传统文化的感触，深入调研到传统木雕中广为运用的忍冬纹是中国民族精神的代表，并将它作为象征性图腾进行拓展，进行更加生动的当代纹样设计。在材料方 面，设计师尝试突破木头材质固有质地，研究它从木纤维到粉 末状态下的特性，结合生物面料领域进行探索，尝试木粉末、木质素成分配比实验，对木纤维进行处理包括挑选、染色、浸油等工艺，创造出了带有如木雕一样具有纹样触觉的表面。 I was deeply touched by the decline of traditional wood carving culture in my hometown, and conducted in-depth research on the widely used honeysuckle pattern in traditional wood carving, which represents the Chinese national spirit. They expanded it as a symbolic totem and designed more vivid contemporary patterns. In terms of materials, designers attempt to break through the inherent texture of wood materials, study their characteristics from wood fibers to powder state, and explore in the field of biological fabrics. They try to conduct experiments on the ratio of wood powder and lignin components, and treat wood fibers through processes such as selection, dyeing, and oil immersion, creating a sur face with tactile patterns like wood carving.
胡佳琪 Angela Hu 偏差 Deviation 指导老师：徐一卫、李琛
有一种现象表明，如今市场上的女装尺码越来越小，人们对标准体型的要求越来越高，女性对自己的身材标准也越来越严格，这就导致了女性的羞体心理。人们在裸体时总会感到羞耻。研究表明，这种羞耻感来自于人们的身材走样。人们觉得自己的体形与标准体形有差距，从而产生羞耻感，甚至自卑。这个项目的目标是消除女性对自己身体的羞耻感，重新定义服装的美，让服装接受不同类型的身体。这组作品将重点关注视 错觉艺术如何在服装设计中发挥有益作用，并在一定程度上帮助女性从心理上摆脱身体羞耻感和裸体羞耻感。 A phenomenon shows that the sizes of women's wear on the market today are getting smaller and smaller, people have higher and higher requirements for standard body shapes, and women have become more and more strict about their own body standards, which has led to the psychology of body shame. People always feel ashamed when they are nude.Research suggest that this shame comes from people being out of shape. People feel that there is a gap between their body shape and the standard body shape, which leads to shame and even low self esteem. The goal of the project is to eliminate the stigma that women feel about their bodies, redefine the beauty of clothing, and allow clothing to accept different types of bodies. This collection will focus on how optical illusion art can play a helpful role in fashion design, and to some extent help women psychologically rid themselves of body shame and nude shame.
余佳 Andy Yu 妊娠纹 Stretch Marks 指导老师：郑嵘
基于案例研究、访谈和织物实验，我分析了亲密关系中的情感 需求、舒适度和趋势。它探索了情感类别、时尚性、色彩和舒适度等设计方向和元素。受妊娠纹和亲子关系的启发，我结合装置艺术，将积极的情感融入色彩选择中。以妊娠纹为代表的亲子关系为设计选择提供了参考。这项研究为创作实践开辟了一条道路，将情感需求转化为设计元素，通过织物和色彩的对比来表达亲密关系的矛盾，加深我们对亲密关系的理解。 Based on case studies, interviews, and fabric experiments, I analyzes emotional needs, comfort, and trends in intimate relationships. It explores design directions and elements such as emotional category, fashionability, color, and comfor t. Inspired by stretch marks and parents-child relationships, I combine with installation art, incorporating positive emotions into color choices. Parents-child relationships, represented by stretch marks, informs design choices. This research establishes a path for creative practice, transforming emotional needs into design elements, expressing intimacy's contradictions through fabric and color contrasts, and deepening our understanding of intimacy.
曾伊莲 Pansy Zeng 自洁系统 Self-cleaning System 指导老师：顾力文
灵感来源于时事 核污染排放事件，与莲有关，出淤泥而不染我希望未来我们都能在浑浊的环境中绽放。设计以自 净系统为主题 ，利用燃烧的过程 ，制造世界正在被破坏，我想营造一种腐蚀的风格，用染色的欧根纱在上面叠加， 做出渐变的效果，增加服装的层次感。再用珠绣表现出脱泥之美，从而体现 出淤泥而不染 的理念。设计以女装为蓝本，寓意这个世界的破烂不堪，安逸的生活随时可能被摧毁。右边的图片则表明这个世界仍有自愈的能力，同时也在修修补补。 Inspired by current affairs nuclear pollution discharge incident, it is related to Lotus, out of the mud without staining I hope that in the future we can all bloom in the muddy environment. The design is based on the theme of the self-cleaning system, using the burning process, the manufacturing world is being destroyed, and I want to create a corrosive style, using dyed organza to layer on top to make a gradient effect to increase the layering of the garment. Then use bead embroidery to express the beauty of removing mud, so as to reflect the concept of out of the mud without staining. The design is based on women's clothing, and on the left is a sign of the tatters of this world, where a comfor table life can be destroyed at any time. The picture on the right shows that the world still has the ability to heal itself, and it is also tinkering with it.
林嘉欣 Christine Lin 轮回之泮 Samsara 指导老师：陈晴、徐燕辉
我们需要探索海洋和人类之间的关系以及它们在未来的共存方式。牡蛎和人体，两个看似独立的生命体，却有着共生关系和永恒的轮回命运。该项目旨在将受牡蛎壳启发的仿生方法与材料的创新设计方法相结合，不仅关注仿生轮廓和纹理以拓展时尚的发展，还关注材料及其再利用，为实现时尚领域的可持续目标提供实用价值。让服装全生命周期服务于海洋和人类社会。 We need to explore the relationship between the ocean and human and how they will coexist in the future. Oyster and human body, two seemingly independent life bodies, have symbiotic relationship and eternal fate. This project aims to combine the bionic method inspired by oyster shell with the innovative design method of materials. It not only pays attention to bionic contours and textures to expand the development of fashion, but also pays attention to materials and their reuse, providing practical value for achieving the sustainable goal in the fashion field. Let clothing serve the ocean and human society throughout its life cycle.
来源：东华大学上海国际时尚创意学院
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