{"meta":{"id":"https:\/\/api.iclient.ifeng.com\/ipadtestdoc?aid=ucms_7weG08MXDGG","type":"doc","o":"1","documentId":"ucms_7weG08MXDGG"},"body":{"newStatus":"1","documentId":"ucms_7weG08MXDGG","staticId":"ucms_7weG08MXDGG","title":"中国国际时装周:关于空间的治愈试验","shareTitle":"中国国际时装周:关于空间的治愈试验","thumbnail":"http:\/\/d.ifengimg.com\/w150_h106_q100\/x0.ifengimg.com\/res\/2020\/6996690FADAA7AC8EE726E29EA2EC260D666C41E_size19_w800_h250.jpeg","source":"中国国际时装周","author":"","editorcode":"weMedia","editTime":"2020-05-21 11:11:00","updateTime":"2020\/05\/21 11:11:00","wapurl":"http:\/\/\/\/feng.ifeng.com\/c\/7weG08MXDGG","introduction":"","wwwurl":"http:\/\/\/\/feng.ifeng.com\/c\/7weG08MXDGG","commentsUrl":"ucms_7weG08MXDGG","commentCount":0,"text":"
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最近翻到日本哲学家鹫田清一的书,书里论及“时尚”,有一句很有意思的话: “Culture(文化)”一词来源于拉丁语动词“耕耘”。时尚,从某种角度看就是在耕耘身体的表面,平整这块土地。<\/p>
在鹫田清一的哲学家视角里,衣服、鞋子等服饰是对身体表面进行装饰。作为介入身体的工具,时尚和语言、行为举止等元素一样,成为了“组成人类文化最基础的元素”。<\/p>
这段略为艰涩的话,放到新冠疫情席卷全球的2020年,则映现出铿锵的见地:时尚之于人类的身体,堪称最亲密无间的一种介质。面对病毒的余威,时尚,更试图穿透这种表面的身体亲密,与人们的身心,产生更为内在的强力关联。<\/p>
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在2020秋冬中国国际时装周的发布会现场,中国服装设计师协会主席张庆辉先生亦表达出相似的观点——他坦言:“因其对美的执著向往,以及缤纷多彩的表达方式,时尚,对于这个元气大伤的世界,称得上是真实而鲜活的,一剂治愈良方”。<\/p>
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真正的治愈力,始于中国国际时装周,对于如何承载时装,一系列对于空间的试验与探寻。<\/p>
空间试验的其一:中国国际时装周,正在悄然告别传统的、中规中矩的“盒装T台”,走向更具典故意蕴的历史建筑,以及精神隐喻的日常空间。<\/p>
令笔者印象深刻的两场秀,一场是设计师韩磊领衔的DAMOWANG AW2020,在北京劝业场文化艺术中心的发布。<\/p>
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北京劝业场文化艺术中心为1923年北京劝业场复建时的建筑,其设计者是我国近代第一批留学归国的卓越建筑师、建筑教育家沈理源先生。在设计之初,北京劝业场吸收了当时正流行于欧洲的“新艺术运动”精神,在传统巴洛克建筑风格的基础上做了因地制宜的创新。<\/p>
2011年,由法国铁路公司的杜地阳(Jean-Marie)、铁凯歌(Etienne)、丹尼尔( Daniel)三位国际建筑师,担任北京劝业场的修复之责,亦为这栋有故事的建筑,注入了新的时代意蕴。<\/p>
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DAMOWANG的这一季设计灵感,强调八九十年代港片武侠风下,“集体视觉记忆的唤醒与延续”——战场上的帽饰,革新的绳索,随性的包袱,游侠气质的廓形,以及与现代书法艺术家Lok Ng 合作的DAMOWANG LOGO书法系列,游走于建筑的白色复古穹顶之下,既轻又重,表达出某一种“宁静的烈度”,一番遒媚的明丽。<\/p>
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另一场秀,则是在北京坊24小时营业的书店PageOne(叶壹堂)。作为中国国际时装周推出的第九届 YOSUN云尚•10+3 SHOWROOM 青年设计师基地计划,这家1983年创始于新加坡的零售书店,摇身一变,成为了年轻设计师们,施展才华的圆梦空间。<\/p>
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一直觉得,书店是一个非常有意思的日常发布空间——文本是静默的,书如青山乱叠;而霓裳则是流动的,光影摇曳,一如红豆相思;这动静相宜,生出诗意趣味。两者的契合之处,亦在于,好的文字能打败时间,好的设计亦会消弭时间,它们藉由思想,又指向思想,是一书一写,一针一线的诚敬。亦是与观者在拐角之处,会心一笑的重逢。<\/p>
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看了来自湖北武汉的90后原创设计师陈文熙的作品。毕业于法国SKEMA 商学院的她,于2015年创立品牌CLEANFLOW,译自中文名“清洗流”——乍一听,名字奇怪而生僻,谈不上美。但在PageOne的书香浮动下,她的设计,显得清醒,宁静,干净。明明是中国传统的香云纱材质,但有一种日本唯美派作家谷崎润一郎笔下的“风流即清寒”的审美意趣,单薄的洗练,好像书桌旁静读的女子,“十分冷淡存知己”。<\/p>
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空间实验的其二,体现在:除了线下,慢慢介入带有强烈精神隐喻的建筑空间,中国国际时装周,亦携设计师慢慢“步入云端”,即以线上直播的“云发布”方式,借助网络直播的实时图像,探索更多,足以抵达消费者的空间触点。<\/p>
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与其说,这是疫情倒逼下的无奈之举,不如说,这是时尚积极应变的必要之术。<\/p>
一组数据表明,在整个时尚产业,新的习惯正在接受考验,远程工作时间增加了84%,视频会议增加了79%,弹性工作时间增加了58%——“莫让创新停止,因为这可能是机会之窗”,就物理意义上的发布会而言,依然恪守正规的发布会标准,不缩水,不减料。同时藉由新的网络载体与传播介质,加载自身品牌更大的传播“带宽”,不啻为发布会本身,颇具商业价值的一次空间试验。<\/p>
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当然,在笔者看来,要圆满完成这样的试验,需要充分考虑各种复杂多变的参数。比如,如何警惕“云发布”,成为自下而上,迫不得已的一次品质“降维”?线下到线上,绝非简单的空间迁移、单向传输与活动复刻,应事先规划好强有力的商贸平台与传播平台,让每一个消费触点,实现涟漪式的扩散,以实现社交媒体应有的张力,有目标地实现商业价值的转化。<\/p>
同时,扎扎实实地讲好每一个作品的故事,放大一切值得放大的细节,旖旎的,高冷的,厚重的,前卫的,台前的,幕后的……让它们尽可能裹藏丰厚而又逻辑自洽的“呈堂证供”,足以流连、收服人们健忘的大脑——记得,线上对于注意力资源的争夺与快速稀释,通常只在“眨眼之间”,而我们,为一场发布会所付出的努力,又是如此艰辛而昂贵。正因为如此,我们更加需要那些,懂得我们的观众。<\/p>
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“人在裂口、断层、伤口与孔洞的周围,时而做梦,时而思考。”法国小说家吉尔伯特·拉斯考特这样写道——如果说,疫情带来了无法回避的裂口与伤痕,断层与告别,那么,时尚,亦将一边,为噩梦所敲打得晕头转向。一边,义无反顾地醒来,于冰火淬炼之后,萌芽出新的觉知,并逐一精进为,结结实实的,关乎生存的策略。<\/p>
毕竟,潮起潮落,胜者留,败者走。<\/p>
那些留在我们身边的时尚,也正是藉由这样的挺立姿态,才得以进化,与众不同。<\/p>
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