| SCF学院2024届服装创意设计专业毕业作品展 |
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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.
江红霖 April Jiang 山城漫游 Mountain City Roaming 指导老师：李峻、傅白璐
我在重庆这座充满活力的城市长大，亲眼目睹了它通过短视频平台的迅速传播，蜕变成一个热门旅游目的地，成为吸引全球游客的热点。这一独特现象点燃了我探索城市 文 化 与 时 尚 设计之间交集的兴趣。这座城市常常笼罩在神秘的薄雾之中， 给它增添了一层神秘感。对于以网络城市著称的重庆来说，这 是一个非常独特的时刻。这也是我创作这一系列作品的灵感来源。作为一个在这些景点中长大的本地人，游客们对重庆的新鲜视角和好奇心深深地吸引了我 。我开始通过 这些游客的视角重新审视这座我自以为非常熟悉的城市，寻找表现其独特魅力的新方式。 Growing up in the vibrant city of Chongqing, I have witnessed firsthand its transformation into a popular destination through the rapid spread of short video platforms, making it a hotspot for tourists from around the globe.This unique phenomenon ignited my interest in exploring the intersection between urban culture and fashion design.The city is often shrouded in a mystical mist, adding a layer of mystery. At times like this, it's like a black and white filter is applied to the whole city. This is a very unique moment for Chongqing, which is known as a cyber city. This has been a great inspiration for my collection.As a local who grew up amidst these sights, the fresh perspectives and curiosity of tourists towards Chongqing intrigued me.I started to re-examine the city I thought I knew so well through the eyes of these visitors, searching for new ways to express its unique charm.
李威威 Nemo Li 万物永续 Perpetual Vitality 指导老师：李峻、傅白璐
在这个项目中，我从人与自然关系的角度出发。思考人类如何 与大自然相处，了解大自然赋予我们的一切美好事物，探索人与自然相处的良好模式。我的灵感来自于大自然中生物生长和生物消耗之间的关系自然生态系统通过生长和生物降解的循环，使生态系统能够永久地利用物质。在这种自然框架中，几乎不存在浪费，所有参与者都能达到自然平衡。 In this project, I start from the perspective of the relationship between human and nature. Think about how people get along with nature and yearn for all the beautiful things that nature has given us, and explore a good mode of getting along with nature. My inspiration comes from the relationship between biological growth and biodegradation in nature.Natural ecosystems enable ecosystems to use materials permanently through the cycle of growth and biodegradation. In this natural framework, waste almost does not exist, and all par ticipants reach a natural balance.
王思强 Crane Wang 有鳞 Squama Existence 指导老师：顾力文
我的设计方法大致可以归类于从现有的工艺和原型寻找设计灵感，以尽量贴合现实实际情况的角度出发去寻找幻想中的可能性，例如我使用的主要设计元素为鳞片，而常规方法主要有热压法，烙印法，普通缝制和用小亮片穿在一块，这些方法虽效果尚可但仍然过于简陋。因此我采用的是以针织结构为框架的方式把鳞片一列一列排列组合形成预期中的效果。将一列一列的鳞片概括简化则会形成鱼鳍状的形态，在这一形态上可以延伸的思路就会更加广泛，可以达到的思维方式更加开阔。 My design approach can be broadly categorized as looking for design inspiration from existing processes and prototypes, and searching for fantastical possibilities in a way that is as close as possible to the reality of the actual situation. For example, the main design element I use is the scales, and the conventional methods of heat pressing, branding, ordinary sewing, and threading them on a piece with a small sequin are still rudimentary, although they are still effective. Therefore, I use the knitting structure as a framework to arrange the scales in rows and columns to form the desired effect. By generalizing and simplifying the rows and columns of scales, a fin-like form is formed, which allows for a wider range of ideas and a broader way of thinking.
王健 Bryce Wang 荒诞正义 Absurd Justice 指导老师：顾力文
我的设计参考了中国传统民间工艺袼褙的工艺，在民间人们通常将此工艺运用在传统老布鞋履，以及戏曲道具的制作上面，俗称“打袼褙”。受此启发，我在保留原有的基本制作方法上，通过利用传统的纸板立裁工艺的基础以及参考雕塑制作中“脱模”等工艺，设计三维廓形，通过面粉制作的浆糊将废旧布料与三维模型进行粘合，通过控制面料的层数来确保服装廓形的硬挺度，经过风干以后，脱模，达到想要的基本服装廓形。最后在此基础上，运用面料做不同的肌理尝试，最终达到最后的设计效果。此设计为民间传统手工艺的创意运用提供了新的思路，将一种乡土记忆巧妙的融合到现代服装设计中。 My design is inspired by the traditional Chinese folk craft of gusset making, which is commonly used in the production of traditional cloth shoes and opera props, commonly known as hitting the gusset. Inspired by this, I designed a threedimensional silhouette by utilizing the basis of the traditional cardboard cutting process and referring to the sculpture production process of mold release, while retaining the original basic production method. I bonded the waste fabric to the three-dimensional model through the paste made from flour, and ensured that the silhouette of the garments was stiff and firm by controlling the number of layers of the fabrics. After air-drying, the fabric is demolded to achieve the desired basic silhouette. Finally, on the basis of this, the fabric is used to try different textures to achieve the final design effect. This design provides new ideas for the creative use of traditional folk handicrafts, and skillfully integrates a kind of local memory into modern clothing design. 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 comfort. 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.
席华泽 Chifundo Xi 再生之忆 The Memory Of Rebirth 指导老师：郑嵘
伤口的产生和愈合，是人体自我修复的一种表现。疤痕往往是丑陋的，因此被人所不齿。然而，每一道疤痕都承载着伤口产生时的记忆，是人体独一无二的勋章。因此，我想从疤痕出发，将人体自我修复的过程具象化，设计一系列服装，将人体自我修复的记忆承载功能传递给人们。 Wounds arise and heal, they are a manifestation of the body's self-healing. Scars are often ugly and are therefore frowned upon. However, each scar carries the memory of the time when the wound was created, and they are unique medals of the human body. Therefore, from the scars, I want to visualise the process of the human body's self-healing, and design a series of garments to convey the memory-carrying function of the human body's self-healing to everyone.
俞卓为 Alex Yu 识别病服 Identifying Hospital Gowns 指导老师：陈晴、徐燕辉
这个系列的背景设定在不久的将来，届时可以使用微型芯片来记 录所有生病的经历。病人出院时需要将病号服留在医院，作为健康证明，而医生则会将衣服存档，作为疾病证据。很多疾病在完全康复后都会被病人遗忘，比如一些儿时的伤痛，长大后连疤痕都会被抹去，身体的自我修复会带来记忆的自我修复，让人重新焕发青春。但我们发现，即使拥有先进的技术，有时我们也无法与历史上曾经存在过的对手抗衡。对于几千年前的远古病毒，我们似乎没有任何抵抗力，医学不能忽视这一点，所以当时的医生用带有微型芯片的病号服记录下当时发生的一切，这样当千年后人们再次面对它们时，就可以进行自我防御。该系列将在病号服中融入科技元素，包括芯片、智能面料等，同时解构传统病号服，融入功能性开口，让其充满未来感。 The series is set in the near future, when microchips can be used to record all experiences of illness. Patients will be required to leave their gowns at the hospital when they are discharged as proof of health, while doctors will file the clothes as evidence of illness. Many illnesses will be forgotten by the patient after full recovery. For example, some childhood injuries will be erased even as scars when they grow up, and the body's self-repair will bring about the selfrepair of memories to rejuvenate the person. However, we find that even with advanced technology, sometimes we can't fight against adversaries that have existed before in history. We seem to have no resistance to ancient viruses from thousands of years ago, and medicine can't ignore that, so doctors at the time used hospital gowns with microchips to record everything that happened at the time, so that when people faced them again a thousand years later, they could defend themselves.
美雅 Oumnia (Mya) 无限蜕变 Métamorphose Infinie 指导老师：顾力文
蝴蝶象征着蜕变和珍贵的回忆，我儿时与蝴蝶结下了不解之缘，受此启发，我深入了解了蝴蝶独特的翼脉图案，这对感知声音至关重要。我从记忆的本质和蝴蝶翅膀的脉络特性中汲取灵感，进行了一次宝丽来实验，拍摄了一些人重温旧时声音、歌曲的情景，这些声音/歌曲触发了他们的记忆。生动的照片展现了他们的当下，而模糊的快照则呼应了旋律所唤起的遥远记忆。这一探索探讨了人类的个人转变，通过音乐和褪色的回声记忆，回忆起他们不断变化的情感景观。 Inspired by my childhood connection to butter flies, which symbolized transformation and cherished memories, I delved deeper into understanding their unique wing veins patterns, crucial for sensing sound. Driven my inspiration from the essence of memories combined with the venation proper ties of a butter fly wing, I held a Polaroid experiment, where I captured individuals revisiting old sounds/songs that triggered a memory. A vivid picture illustrated their present moment, while a blurred snapshot echoed the distant memories evoked by the melodies. This exploration explores personal transformation in humans, with the evolving landscape of their emotions, recollected through music and faded echoic memories.
黄煒璇 Febrina Jevon Ng 在阴影中 Within The Shadows 指导老师：李峻、傅白璐
Wayang Kulit 是一种皮影戏，其灵感来自印尼文化。为了将 这一工艺现代化并延续下去，我通过观察类似的形状和细节，将组成 Wayang Kulit 的概念解构为更加现代的当代设计。 Taking inspiration from indonesian culture, Wayang Kulit is a form of shadow puppetry where the puppet is made with high level craftsmanship and detail. To modernise and continuing the craft, the designer led a design of deconstructing the idea of what makes up the wayang kulit by observing similar shapes and details into a more modern contemporary take.
陈素鑫 Crista Chen 美丽的陷阱 Trap In Beauty 指导老师：Anika Hoppel、袁佳颖
我的灵感来源于贝塔鱼，它们喜欢与同类争斗，争斗后身体周围会出现这样的斜线，这让我想起了褶皱。因此，我将此作为我的创意，并在我的作品中进一步运用这种褶皱技术。在花朵的细节上，我借鉴了贝塔鱼鳍的形状，并使用激光切割技术制作布料和塑料材料来制作花朵。使用塑料的原因是，贝塔鱼通常装在塑料袋或瓶子里出售。其他点缀，如珍珠和珠子，用来支撑花朵，使其更有吸引力和趣味性。 Inspired from the facts about betta fish, which they like to fight with the same kinds of them, and having such slash around their body after battling, reminds me of pleats. So, i take this as my idea and doing this pleat technique fur ther in my collections. For the details of the flowers, i took from the shapes of betta fish fin, and using laser cutting technique for the fabric and plastic material to make the flower. The idea of using the plastic its because of betta fish usually been sold with in a plastic bag or bottle. others embelishment, such as pearls and beads are use to support the flowers to make it attractive and interesting.
韦莉娅 Aurelia Josephine 逝去的锁 Deadlock 指导老师：Anika Hoppel、袁佳颖
吸收了光、视觉和听觉，我的灵感来源于安全和可靠的象征意义- 锁和钥匙。每件设计都是为释放个性和自我表达而精心制作，将高超的剪裁技术与创造性的轮廓处理相结合，创造出优雅与都市风情的独特融合，成为体现自信风格精髓的可穿戴艺术。通过将梭织面料和自洗染色面料相结合，为每件设计增色添彩，创造出高雅的作品。 Absorbing the light, sight, and sound, I am inspired by the symbolism of safe and secure - Lock and Key. Each design is crafted to unlock individuality and self-expression, creating a unique blend of elegance and urban flair by combining high technique of tailoring with creative silhouette manipulation into wearable arts that embodies the essence of confident with styles. By combining woven fabric and self-wash-dye fabric to enhance and infuse each design, creating elevated piec. 2024年正值上海国际时尚创意学院成立10周年， 更是革故鼎新之年。 愿上海国际时尚创意学院每一位2024届毕业生， 有前程可奔赴，亦有岁月可回首。 畅想未来之轮廓，抒写人生之华章！ |
