Interview with fashion designer Grace Chen

Interview with fashion designer Grace ChenInterview with fashion designer Grace Chen

Extravagance is a very broad word. It is both a derogatory term and a derogatory term. We should not blindly regard it as a derogatory term. Many of the extravagances we are talking about are related to the economic environment. In many cases, they are indulgences, waste, and improper wealth, giving a lot of negative colors to luxury. But on the other hand, luxury is also a pursuit of perfection, the pursuit of the most perfect, the pursuit of the highest taste, and this is not derogatory.

Because man has this freedom to pursue this, both mentally and materially, as long as he has this ability. Leader ladies or politicians, or important women in diplomatic situations, they must have image consideration and expression on some important occasions, and you will know why such clothing works exist Value. Because you just need this kind of clothes, ordinary clothes do n’t show up at all. There is no way to represent the spirit of a country. What do you do at this time? You definitely ca n’t just wear a very ordinary clothes. It must have been carefully considered or specially made. Not only do they have this need, many people also have this need in their own lifestyles and working environments. Therefore, special, well-thought-out, high-level custom-made garments with high levels of material or design have considerable value.

Anthony: Could you please introduce the characteristics of these high-definition works you made in this show at the “King of the King” fashion show held in Lancaster Palace in London?

Grace Chen: The theme of the show is the “SimplyDivine” king style. When I conceived the series of the show, the first thing I thought of was the location of the show, namely Lancaster House. It is one of the oldest palaces in London, with a reputation no less favorable than that of Buckingham Palace. It is one of the most beautiful buildings in London. When we decided to do this show in the UK, we had all kinds of considerations, and finally we were lucky to be held at Lancaster House. In history, we only held a fashion show here before. It is a very famous designer John Roches in the UK. We are the second designer to hold a show here, so it is really a rare opportunity.

In fact, we have a certain connection between the Chinese and British cultures. One of the most important factors in connection is the royal culture. In terms of what we call the king’s style, I feel that compared with many countries, China and Britain are particularly connected in this regard. So I want to express this feeling in this collection.

What is the style of the king? Since we are in the British palace, how do we say the style of the king in the East? Instead of looking for differences, it is better to find common ground. And for me, the combination of Chinese and Western is in my blood. I have always liked this aesthetic of universal value. In fact, there are many similarities between different cultures. In this respect of the king’s style, the romantic color and aesthetic spirit occupy the main part. So this time in style, we emphasized these points.

I’m very satisfied with yesterday’s show, everyone’s reflection is that it really seems to have entered a fairy tale world. When the model puts on these dresses and comes out, you don’t think whether she is Eastern or Western, you feel as if you are experiencing an unreal fairy tale world. However, these clothes are very applicable, so the collection style positioning is the location of Lancaster House, and our guests (most of them are members of the British high society and the royal family). The entire atmosphere is very suitable. of.

Anthony: In terms of specific clothing, can you please tell us about the whole press conference, from the change in clothing modeling to the arrangement, how did you think about it?

Grace Chen: This time the look is very different. The important point of the king’s demeanor is the momentum, a magnificent feeling, so our appearance this time, using a lot of draping style, very lapel streamer. The shape of our usual work is relatively more personal, to show the characteristics of the figure.

On the fabric, we also use a lot of transparent fabrics, the purpose is to render the atmosphere. The transparent fabric can give you a strong sense of layering. Under the light, there is a feeling of enveloping the aura, which emits light, including some decorations we use.

In terms of color, we use red, gold, silver, white, and some black, which are pure colors that are often used.

In the sense of form, it is magnificent, and the details are extremely delicate. This time we used a lot of manual work and a lot of details to show this inherent beauty and spiritual characteristics. Therefore, these spiritual factors that we said are ultimately reflected in the design itself, materials, shapes, and details. In the end, what you see is actually a spiritual level feeling.

Anthony: The kind of drape you just mentioned is actually related to the 18th and 19th centuries, both in the East and the West, and there is an equestrian complex in life habits. That’s why there is that cloak. Is it a retrospective of that time, nostalgia, or yearning? There are not many people riding horses today. They are placed on today’s ladies, celebrities and elites. What do you do?

Grace Chen: Equestrian is indeed a symbol of an era. In the 18th, 19th, and early 20th centuries, this era played a vital role in art and design. The birth of modern design began in that era. Especially Britain, the birthplace of this industrial revolution. When I was studying art and design from a young age, I also felt particularly deeply about this era, and it is still deeply affected. My aesthetic style and romanticism started from this era.

I have always been committed to modernizing traditions and advancing with the times to reflect spiritual things. This tradition is actually reflected in an attitude. How do you say to modernize it? How to make modern people have the style and lifestyle of a hundred or two hundred years ago? You ca n’t go horseback riding anymore, you really do n’t have to wear this kind of clothes for riding, but this kind of ribbon-band dance can still be magnificent. Level of an attitude.

 Anthony: So how did you achieve it, and what are the characteristics of the specific process?

Grace Chen: The layered sense of clothes. For example, I like short clothes on the inside and long clothes on the outside. Usually long inside and short outside, but if you are short inside and long outside, you will have beautiful legs.

My clothes have no age limit. When I was in Fitting today, I had a teenage Model. She wore short jumpsuits, and there was a beautiful long coat on the outside. My friend, Lenovo Vice President Qiao Jian likes it very much and wants to set it up. Although they are completely different people, both in terms of age, body and lifestyle, but I also agree with her. Why can’t she? Maybe when you watch a fashion show, everyone thinks this dress looks good on models, but as a female dress expert, I never think so, our clothes look better on real women. One day, we can show it to you. Our magnificent and casual feeling can be created through clothing.

Anthony: Not only through the layers, but also through the craftsmanship, such as the drape of the fringe, the weaving of the fringe, or the embroidery, how do you interpret the romantic imagination in your eyes?

Grace Chen: Imagine calligraphy. Calligraphy has a great influence on me. Sometimes, I will unconsciously use the aesthetic theory of calligraphy to design. If you think about Wang Xizhi’s calligraphy, it is particularly similar to our clothing. It is a degree of freedom and a degree of looseness. It’s actually very orderly. But you also feel a sense of randomness.

This can particularly well explain why I often use fringe, transparent fabric, elegant fabric, these are actually rendering. It is the floating, flowing things outside the fixed clothes, which will move with your movement. So when you sit, stand, and walk around, you have a sense of rhythm and rhythm because of tassel, and you have a lively feeling.

There is a coat in our collection. It used to be a coat. This time I added tassel. After adding it, the spirit of man came out and I became angry immediately when I walked. I want to use calligraphy to describe my design.

Anthony: Seeing your re-interpretation of Chinese, Republic of China, or clothing in the late Qing Dynasty, for example, a Chinese style collar, a placket, using a young British model, but it looks a bit like Sun Yat-sen in his youth Madam Song Qingling, like the Duchess of Windsor who later lived in France with her husband, do you think about this group of design, or do you have other considerations?

Grace Chen: You really understand our design. The age represented by Mrs. Simpson was the era of the Art Nouveau in the early 20th century. The era of Wilde literature had a great influence on me. Including aestheticism at that time and some decorative styles. In my opinion, this era is the most perfect time for the integration of Chinese and Western cultures. At that time, Westerners suddenly found that there were so exquisite things in the East, and such a beautiful culture, and they were shocked. So at that time was the time when Eastern culture was attacking Western culture. Then Westerners use their own way to resolve and absorb Eastern culture, so what comes out is different from us.

The suit you said is actually very similar to the cheongsam of the Qing Dynasty, but it is very modern. There are some gold, pink and green on the white background, which are very similar to the porcelain tones of the British Royal Palace. But these things were originally It’s from the east. Even if I do n’t know that the British have such things, they can still learn from my own culture. To put it bluntly, a large part of many aesthetic factors in British and French art and design come from China. I didn’t mean to show it. I wanted to make it intentionally British. In fact, it was originally Chinese, but they thought it was British.

Anthony: Today, in a state where China ’s consumer culture is particularly complicated, and under the circumstances of some newly wealthy and newly wealthy striving for luxury customization, China itself has a public opinion orientation in the country. Your job is To provide people with a higher quality of life, a better imagination, in the lifetime of each person, there are more things that he loves, his own life, then your work, in the current environment of luxury How does it work?

Grace Chen: I don’t think there is any conflict at all. Consumption should be related to your own spending power and income level. Of course, you should not swell your face and consume fat. In any social environment, there are different levels of consumption, but our aesthetic is irrespective of class and regardless of level. Aesthetic taste can be achieved no matter in which price range. This is a premise for me.

The second is the quality of something, which has something to do with the cost, time and energy it takes to make it. If you have the ability to consume, of course, you want something that is more scarce, more refined, and more perfect in materials. This is natural.

Thirdly, extravagance is a very broad word. It is both a derogatory word and a derogatory word. We should not blindly regard it as a derogatory word. Many of the extravagances we are talking about are related to the economic environment. In many cases, they are indulgences, waste, and improper wealth. But on the other hand, luxury is also a pursuit of perfection, the pursuit of the most perfect, the pursuit of the highest taste, and this is not derogatory. Because man has this freedom to pursue this, both mentally and materially, as long as he has this ability.

No matter what industry you are in, someone will do the best. And we are in the clothing industry, we just want to do the best thing. We are seeking spiritually and materially like-minded people. For me, the style of our brand and our pursuit are not a accumulation of money and wealth, but a sublimation, a pursuit of art and life. I think this is totally positive, and we are very confident in doing this.

Anthony: Actually, anti-corruption is not the same as anti-corruption. Anti-corruption is improper income. It feels like a society that is not willing to let the elites face the widening gap between the rich and the poor for a period of time. The expression. However, in the industrial world, there is always a boutique industry. This is unavoidable. The boutique industry is a front-end mark of industrial progress and quality improvement. In this situation, which is not willing to allow the elite to have too many exposed symbolic signs, the most iconic haute couture in the boutique industry, how do you stand in this difficult situation?

Grace Chen: The three points I said just now answer your question to some extent. The first is not a particularly difficult situation for me, nor is it specifically to promote luxury. Because I do n’t even think our clothes are luxury. If you understand the cost of our clothes, you know that it is good value for money.

Haute couture works are not a thing with a normative price, and they cannot be compared with ready-made garments produced in different ways. Originally, it was a work that was carefully crafted and required a high cost to produce. If you really like it and have the financial means, this is understandable. We don’t think we are preaching excessive consumption. And many of our friends who like our work will find that our clothes are very affordable after a long period of use, which is much better than many disposable, fast fashion, or many seem cheaper but For clothes that don’t really make much sense, our clothes are more valuable. So from the aspect of value and the improvement that clothing brings to your life, we are excellent value for money.

Anthony: So when the leader ’s wife or female leader went on a trip, we saw that they wore clothes from the Chinese boutique industry, which displayed both aesthetics and craftsmanship. Look at the press conference you made. You know, where did the original boutique come from?

Grace Chen: Yes, if we talk about leaders ’wives or female dignitaries, or important women in diplomatic situations, they must have image consideration and expression on some important occasions, you know why Such clothing works have its existence value. Because you just need this kind of clothes, ordinary clothes do n’t show up at all. There is no way to represent the spirit of a country. What do you do at this time? You definitely ca n’t just wear a very ordinary clothes. It must have been carefully considered or specially made.

Not only do they have this need, many people also have this need in their own lifestyles and working environments. Therefore, special, well-thought-out, high-level custom-made clothing with high levels of material or design has considerable value.

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